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OFFICIAL SOUVENIR 



Eighth Annual Convention 



OF THE 



United Typothetae of America 



Philadelphia, September 18 to 21, 1894 




aaepiia 






epfenpber 9 1824 






/ 







OFFICIAL SOUVENIR 



Eighth Annual Convention 



OF THE 



United Typothete of America 



Philadelphia, September 18 to 21, 1894 



£** 



1394 
"Of w 



PUBLISHED UNDER THE AUSPICES OF THE 
PHILADELPHIA TYPOTHET/E 

...BY... 

WILLIAM M. PATTON 



Type tsz Printing Material 



(3^13(3^3(3^3(3^3 



^Hmerkami 



Complete Printing 

. . OFFICE . . 
Outfits Furnished 




IMfef 



Manufacturing poundries 

MACKELLAR, SMITHS & JORDAN FOUNDRY, Philadelphia, Pa. 
MARDER LUSE & CO. FOUNDRY, Chicago, 111. 

DICKINSON TYPE FOUNDRY, Boston, Mass. 
BOSTON TYPE FOUNDRY, Boston. Mass. 
AMERICAN TYPE FOUNDERS' CO., Successor to JAS. CONNER'S 
SONS, New York City 
CENTRAL TYPE FOUNDRY, St. Louis, Mo. 

ALLISON & SMITH FOUNDRY, Cincinnati, Ohio 
CINCINNATI TYPE FOUNDRY, Cincinnati, Ohio 
CLEVELAND TYPE FOUNDRY, Cleveland, Ohio 
BENTON-WALDO TYPE FOUNDRY, Milwaukee, Wis. 

PALMER & REY TYPE FOUNDRY, San Francisco, Cal. 
JOHN RYAN TYPE FOUNDRY, Baltimore, Md. 

ST. LOUIS TYPE FOUNDRY, St. Louis, Mo. 



Branches 

MAI KKI.LAR, SMITHS & JORDAN FOUNDRY, Pittsburg, Pa. 
MACKKLLAR SMITHS & JORDAN FOUNDRY, Buffalo, N. Y. 
MACKELLAR. SMITHS & JORDAN FOUNDRY, Chicago. 111. 
MARDER LUSE & CO. FOUNDRY, Minneapolis and St. Paul. 

Minnesota 
MARDER M)RY. Kansas El 

MARDER. LUSE & CO. FOUNDRY, Omaha, Keb. 
TH1 DKNVKR TYPE FOUNDRY CO., Denver, Colo. 
PALMER & REY TYPE FOUNDRY, Portland. Ore. 



-I 



Originators of Beautiful Book, 
. . News and Jobbing Faces . . 



ore §ttnttdhi®in 
(Cabinets 

Stands 

©So Framm©: 



Manufacturers of HERCULES 

. . Gas and Gasoline Engines . . 







Presses and Machinery 



o 




o 



o o 




O 



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A Copy of the Elegant Specimen Book of this Foundry 
. . Mailed Free to every Printing Office . . 



rngnimafl J^Mbnimgj Desngp: 



Accuracy and Durability 
Guaranteed 



MacKellar, 

Smiths St Jordan 

Foundry 



Nos. 606-614 Sansom Street 
Phi la delph ia 




BaDdDk S ffewsipaipef Psks©: 



Sold by all Foundries and Branches of the 
. . American Ty^pe Founders' Company . . 




mmpV°lMimtmm 



Mittineague Paper Co. 



Mittineague, Mass. 



Our Alexis Ledger is giving 
universal satisfaction. 

Also our Alexis and Mitti- 
neague Bonds are well 
known by the trade. 

m 

Our Lakewood Extra Super- 
fine, for color, strength 
and thickness, is equal 
to the best. 

m 

We do not aim for large pro- 
ducts, but to stand on 
the top for quality. 



MANUFACTURERS OF THE 

HIGHEST GRADES 

. . OF . . 

Linens- 



Ledgers 



AND 



Bonds- 



•& 



Samples cheerfully furnished on 
. . . application , . . 



Will You Do It? 

You remember the defendant's reply in the famous Kettle Case : 

(i ) Kettle was cracked when he borrowed it. 

(2) Whole when he returned it. 

(3) Never had the kettle anyway. 

Compare this with the defendant's reply in the Printing-press Case : 

( 1 ) Press is doing splendid work now. 

(2) Haven't got any work for the press anyway. 

( 3 ) Don't like your press ; don't know anything about it. 

Now, no printer can be progressive with his eyes shut ; no man can make a 
success who plays tennis with his words. 

Whether you buy a Cottrell press or not, is not now the question. The vital 
necessity is that you should grasp the present situation, realize what you need 
in these times of depression, and put your office on a proper war footing. 

To help you to do this let us see if it be possible to crystallize the whole situation 
in a single paragraph. Here is the result of half a century of the printing business : 

Prices are ordinarily adjusted to the point where a printer with a poorly-equipped 
plant can make a living. But in times of depression prices contract in proportion to 
the scarcity of trade. This contraction quickly exceeds the margin of profit in a 
poorly-equipped plant, and the man must pass many orders or lose money heavily. 
The well-equipped plant, however, while reducing its profits, can weather the storm 
easily by its ability to drop prices. This very ability will keep the office full of work. 
Ik- can lake a small profit on each job, and depend upon the quantity of his profits 
to make a good total. Thus it is a well-attested fact that in times of depression the 
man who is farthest abreast of the times suffers least. 

The moral is plain. Resolve to-day to put your office on a war basis. Resolve 
that you will reduce your operating expenses by greater production at no greater 
cost. Resolve to own a high-speed Cottrell. 

And remember that a resolution, like a tainting lady, should always be carried out. 

C. B. Cottrell & Sons Co. 

8 Spruce Street, New York. 

Chic igo « >i fi< i. : 297 1 Jearboni St. 

.. ,, •,, .. Works: Westerly, R. I. 

Boston Office : 171 1 "rtlnil Square. 



The beading Printing Inl< Manufacturers 

IN THE UNITED STATES ARE 

The FRED'K h. bEVEy CO. 

59 FJeel^man Street, New Vorl<. 



Fred'k H. Levey 
President. 



Chas. E.Newton, 
Vice-President. 



We beg to call the attention of all Printers and Publishers in the country to the following 
letters from some of our leading customers, which have been kindly tendered us. 



Office of THE PUBLIC PRINTER, 

Washington, D. C, June 20, 1894. 
Frederick H. Levey Co., Mfrs., etc., New York City. 

Gentlemen: — In response to your request of 19th inst., 
I cheerfully state that in 18S6, a somewhat exhaustive 
test was made of book and job inks in this office, under 
my direction. Following such test, the inks furnished 
by you were selected in part for office use, both for rea- 
sons of color, economy in use, and cost. 

These inks gave such great satisfaction, especially in 
fine bookwork, engraving and half-tone printing, that I 
have this year, upon taking charge of this office again as 
Public Printer, directed the use of your inks without 
any request on } 7 our part. Very truly yours, 

Thos. E. Benedict, Public Printer. 



THEO. L. DeVINNE & CO., PRINTERS. 
The DeVinne Press, 
12 Lafayette Place, New York. 

New York, June 12, 1894. 
Fred'k H. Levey Co., New York. 

Dear Sirs: — We have been using your inks for some 
years past and can testify to their general excellence, 
more especially for their use on coated paper. We find 
them very uniform, and with your nice graduations of 
body we can suit ourselves for almost any condition of 
paper. They are certainly very superior in quality, and 
we are highly satisfied with the results obtained from 
their use. Yours very truly, 

Theo. L- DeVinne & Co. 



TROW DIRECTORY, PRINTING AND BOOKBIND- 
ING COMPANY. 
PRINTING AND BOOKBINDING DEPARTMENT, 

201-213 East Twelfth Street, New York. 

June 19, 1894. 
Messrs. Fred'k H. Levey Co., 59 Beekman St., N. Y. 

Gentlemen: — We take pleasure in stating that we 
have used your inks on various publications for several 
years, and their adaptability to all grades of printing 
has given us the best satisfaction. Your ability to fur- 
nish satisfactory material for all requirements— depend- 
ing upon such conditions as changes in the atmosphere 
and various kinds of paper — has been thoroughly de- 
monstrated. You are particular^ successful with the 
grades for half-tone work on coated paper. Its uni- 
formity in quality, depth of color, and fine working 
qualities, have given very gratifying results. 
Yours truly, 
Trow Directory, Printing and Bookbinding Co. 
Per R. W. Smith Prest. 



D. APPLETON & CO., 

72 Fifth Ave. 

June 26, 1894. 
Messrs. Frederick H. Levey Co. 

Dear Sirs: — We take pleasure in saying that we 
have used } T our ink for a number of years, and we have 
found it uniform and satisfactory. Yours truly, 

D. APPLETON & CO. 



THE COSMOPOLITAN MAGAZINE- 
EDITORIAL DEPARTMENT. 

My Dear Mr. Levey: J une 20 ' l8 94- 

^ j I have to thank you for the high standard and uni- 
form excellence of the " Coated," " Text " and colored 
inks furnished by you to the Cosmopolitan during the 
past year. 

Believe me very appreciatively and sincerely yours, 
John Brisben Walker. 
Mr. Fred'k H. Levey, President, etc. 



THE LADIES' HOME JOURNAL- 
Curtis Publishing Co. 
business department. 

Philadelphia, June 19, 1894. 
The Fred'k H. Levey Co., 59 Beekman St., New York. 
Gentlemen: — Since we began using our own mechani- 
cal plant, February, 1891, we have bought our Ladies' 
Home Journal ink, and much of that for the varying cov- 
ers of the magazine, from you. Based on the experience 
of more than three years prior to April 2, 1894, we made 
a year's contract with you from that date. We have not 
regretted, nor do we expect to repent, having made such 
a contract. Very truly yours, 

The Curtis Publishing Co., 

A. H. Siegfried, Business Manager. 



PUCK. 

New York, June 19, 1894. 
The Fred'k H. Levey Co., New York City. 

Gentlemen: — It gives us great pleasure to state that 
your black and colored inks which we have used on 
Puck, and on our other publications for the past year, 
have given great satisfaction. 

Their uniform and excellent quality has proved a 
great factor in turning out satisfactory work. 

We are, very truly yours, 

KEPPLER & SCHWARZMANN, INC., 

H. Wimmel, Secretary. 

Office of the NEW YORK LEDGER. 
Cor. Spruce and William Sts. 
P. O. Box 3263. New York, June 8, 1894. 

Fred'k H. Levey Co., 59 Beekman St., City. 

Gentlemen:— Vox the past four or five years we have 
used your inks almost exclusively on the New York 
Ledger and our library periodicals. We are pleased to 
say that the inks which you have furnished us have 
given excellent satisfaction, and your prices have al- 
ways been low for quality. Yours very truly, 

Robert Bonner's Sons. 



AMERICAN LITHOGRAPHIC COMPANY, 
203 Broadway, New York. 

New York, June 21, 1894. 
Messrs. F. H. Levey Co., 59 Beekman St., City. 

Gentlemen:— We take pleasure in stating that we 

have found vour letter-press inks absolutely uniform in 

quality and the best in the market for the price. 

Very truly yours, 

American Lithographic Company, 

Per G. W. Donaldson, 2d Vice-Pres. and Pur. Agt. 



Office of the NEW YORK BANK NOTE CO., 
75 Sixth Avenue, New York. 

June 25, 1894. 
Fred'k H. Levey Co., 59 Beekman St., New York. 

Gentlemen:— The fact that, during the past five years, 
we have printed over 1,500,000,000 strip tickets, using 
your inks only, sufficiently attests our preference for 
them. Yours very truly, 

George H. Kendall, President. 



19 and 2] 



LIFE, 

West Thirty-first Street. 

New York, June 26, 1894. 
Messrs. Fred'k H. Levey Co., 59 Beekman St., N. Y. 

Gentlemen: —SSI & take great pleasure in stating to 
you that much of the reputation that Life has for fine 
printing, and particularly for its half-tone effects, is 
owing to the use of your blue-black ink. 

Very truly yours, 
Life Publishing Company. 
Andrew Miller. 



The "M ONOGRA PH" 

A PERFECT INKING POLLER 



FOR 



HALF-TONE WORK 




OUR SPECIAL BRAND 

A\At)E EXPRESSLY FOR HALF-TONE PRINTING ON 

COATED PAPER. 



A Sample Order will Demonstrate the Superiority of the "Monogram.' 



OUR REGULAR BRANDS: 

EXCELSIOR PATENT AND O. K. IMPROVED OLD STYLE. 



Joseph B. Daley & Co. 

Rollers cast and Returned. 31 Rose Street, New y orl<. 

Composition in 5 pound cakes shipped in bulk to order. 

6 



'Webster's International 



A Grand Family Educator 
A Library in Itself 



Dictionary 

A College President writes: "For ease with 
which the eye finds the word sought, for accuracy 
of definition, for effective methods in indicating: 
pronunciation, for terse yet comprehensive state- 
ments of facts, and for practical use as a working 
dictionary, * Webster's International ' excels any 
other single volume." 

Iftfg^ The diacritical marks f or indicating the sounds of letters are so plain and intelligible 
as to be easily understood by old and young. Nearly all schoolbooks use them. 

"It is Tlie One Great Standard Authority 

the perfection of dictionaries;" so writes Justice Brewer of the 
United States Supreme Court, who voices the general sentiment. 

Send for free pamphlet containing specimen pages, illustrations, etc. / "WEBSTER'S 

G. & C. IHerriam Co., Publishers, I INTERNATIONAL 

Springfield, Mass., U. S. A. V DICTIONARY 

ftgF' I>° not UU T cheap photographic reprints of old Webster dictionaries. 



Emmerich & Vonderlehr 

191 and 193 Worth St. 
New York 



. . . MANUFACTURERS OF 



Bronzing 



Machines 



Sizes ranging from 6 inches to 60 inches. 
QAA Machines in Use. 



United Typothetae of America 

OFFICERS FOR l89?-'94 

PRESIDENT 
JOHN R. MeFETRIDGE, Philadelphia, Pa. 

SECRETARY TREASURER 

EVERETT WADDEY, Richmond, Va. CHARLES BUSS, Cincinnati, 0. 



VICE-PRESIDENTS 

R. R. DONNELLEY, First Vice-President J. H. BRUCE, Fourth Vice-President 

Chicago, 111. Nashville, Tenn. 

GEO. H. ELLIS, Second Vice-President P. H. TIERNAN, Fifth Vice-President 
Boston, Mass. Kansas City, Mo. 

E. PARKE COBY, Third Vice-President JAMES MURRAY, Sixth Vice-President 
New York Toronto, Out. 



EXECUTIVE COMMITTEE 
JOSEPH J. LITTLE, New York, Chairman 
W. A. SHEPARD, Toronto, Out. THOMAS TODD, Boston, Mass. 

GEO. M. COURTS, Galveston, Tex. \\\ i,. BECKER, St. Louis, Mo. 

C. II. BI/AKELY, Chicago, 111. II. P. PEARS, Pittsburg, Pa. 

8 



OFFICIAL SOUVENIR 
EIGHTH ANNUAL CONVENTION 

UNITED TYPOTHETtE OF AMERICA 



CONTENTS 

History of the United Typothet^e W. W. Pasko ... 1 1 

Past Presidents of the United Typothet^e of America 16 

The Executive of the United Typothet^e of America ... 20 

Officers and Committees of Typothet^e of Phila- 
delphia 24 

Officers and Committees of United Typothet^e of 

America 26 

Stephen Greene 28 

Early Association of American Master Printers 30 

Thomas MacKellar 31 

Birth and Youth of English Printing H. M. Duncan . . 33 

Pioneer Printers of America S. R. Davis .... 41 

Attractions and Institutions of an Historic City . Special 46 

The Movable Unit IV. B. MacKellar . 66 

Arts of Wood-Cutting and Woodcut-Printing in 

Japan 69 

The Evolution of Illustrating H. M. Dimcan . . 80 

Bookbinding : Study of a Practical French Book- 
binder E. Bosquet .... 87 

Application of Historic Styles in Ornamental Art ) n ,, 7 . 
to Modern Bookbinding. Renaissance ......) 

Some Recent American Inventions 94 

Development and Application of Colored Papers ) n , A , 

\ Paid Adam .... 96 

to Bookbinding 3 

Advertisements 1-7, 105-128 




W 1 1,1.1 A M C. MART IX, 
FIRST PRESIDENT, NEW YORK TYPOTHJ I I 



HISTORY OF THE UNITED TYPOTHET/E. 




RIXTIXG was carried on in the 
United States as well as the 
Colonies for 250 years before 
those who practised the art 
came together and made the 
acquaintance of each other. 
The establishment brought 
over by Mrs. Glover, which 
was set up in Cambridge in 1638, the one that 
Bradford began in Philadelphia in 1685, and 
those which were subsequently originated in 
New York, Charleston, New London, Baltimore, 
and elsewhere, had multiplied from that time 
till now at a marvellous rate. Every state and 
every territory had its own printing-offices and 
its newspapers. Yet, no general meeting of 
those who practised the art had been thought 
of ten years ago. The intercourse between 
Pittsburg and New York, between Chicago and 
Philadelphia, between St. Louis and Boston, 
was as slight as possible. No printer in one of 
these cities knew one in another city, unless by 
accident, and improvements in the calling might 
have been originated and been known for years 
in one before it reached another. This is now 
changed. Nothing is more common now than 
fraternal intercourse between printers from dis- 
tant points, and the gains in methods, the knowl- 
edge of speedier or better processes, are very soon 
imparted from one to the other. Instead of 
some towns being ten years in advance of others, 
all are alike — nearly on the same line. 

There were several local associations of print- 
ers before the Typothetae began. When prices 
rose with lightning-like rapidity during the civil 
war, book paper being as high as twenty-five 
cents, and news paper as high as eighteen cents 
a pound, some grades of letter paper at sixty 
cents, and compositors on morning newspapers 
demanding sixty cents a thousand, it was neces- 
sary for the employers to meet and to consult 
together. They did this, and formed associa- 
tions in Chicago, Philadelphia, Cincinnati, Bos- 
ton and New York. Elaborate calculations were 
made as to what prices should be charged cus- 
tomers, and a reasonable adherence to these 
figures was maintained as long as gold main- 
tained its high premium. When it began to 
fall, printers began to cut, and to neglect their 
associations, and in a few years all were dead. 
No meetings were held after 1871 or 1872. The 
permanent value of these meetings was in the 



calculations which had been entered into as to 
the cost of work. The results were drawn out 
in book-form by several of the societies, and to 
them were added the interest on capital and the 
necessary profits, as affording a basis for charges. 
Most elaborately of all, a schedule was brought 
forth by Theodore L. De Yinne, of New York, 
then the Secretary of the New York Master 
Printers' Association, as a price-list, and he also 
contributed much to the typographical journals 
of the war decade, upon the theory of the busi- 
ness. Prices continued to sink after the panic 
of 1873, and continued falling until about 1881 
or 1882, when they began to stiffen somewhat. 

No organization among the master printers 
was again formed until 1885, when the New 
York printers, under the active efforts of 
Douglas Taylor, were brought together. Mr. 
Taylor, without learning the art practically, 
had carried it on for twenty years with marked 
success, although cultivating no specialties. 
The same abilities that had made him the 
leader of the Democracy in one of the most 
obstinately contested wards in New York City 
when he was but nineteen years of age, and 
had led him to originate and establish, while 
still under twenty-five, the Manhattan Club, the 
leading social organization of his political faith 
in New York, showed him the methods of victory 
in an organization of printers. He reasoned, 
he cajoled and he threatened 1 he is a master of 
all three arts), and all were needed to over- 
come the indifference of the trade. Few imag- 
ined that organization was of any value. The 
society was at length established, with William 
C. Martin, an old and revered printer, at the 
head. St. Louis and Boston followed two years 
after, and finally Chicago, when the event hap- 
pened which brought all these societies together 
and added two score more. This was an at- 
tempt on the part of the International Typo- 
graphical Union to reduce the hours of labor to 
nine. 

The Union had begun in 1850, but remained 
weak up to the time of the war and through it. 
After the conflict ended it grew more powerful, 
and remained so. When England reduced its 
printers' hours of labor, many compositors and 
pressmen on this side of the water argued that a 
similar reduction should take place here. The 
question was much discussed, and in 1887 the 
various societies resolved to put their theory 



11 



HISTORY OF THE UNITED TYPOTHET/E. 



into action. They arched that the workingman 
should derive some benefit from the spread of 
civilization, and declared that machines did 
so much of the work of the human race that 
soon many men would have no work at all. 
The time appointed was the first of November, 
and on that day work was stopped in Chicago, 
St. Louis, Detroit, Rochester and Louisville. 
The employers, however, had not passed this 
menace unheeded. St. Louis requested Chicago 
to convene a general meeting of printers from all 
over the Union, to consider what was necessary, 
which was done. William C. Rogers, at that 
time the Secretary of the New York Society, 
zealously seconded the efforts of Chicago and St. 
Louis, and a large number of delegates appeared 
in the city of the lakes on the iSth of October. 
Robert Harmer Smith, of New York, was 
chosen to the chair. He was a man of judicial 
mind, calm temper and perfectly familiar with 
the questions to be discussed. Under his guid- 
ance the convention finally resolved to make 
itself a permanent organization, to meet year 
by year, and to adopt the title of the United 
Typothetae. A constitution was adopted, and 
various committees were appointed. The title 
selected for the name of the organization was an 
old one. It was that by which the Emperor 
Frederick III. of Germany had character- 
ized the printers of Germany in the year 1470. 
Meerman declares that he permitted printers to 
wear gold and silver ornaments. Both Typo- 
graphi and Typothetse were honored by him 
with the privilege of wearing coat armor. Peter 
C. Baker, an old and esteemed printer of New 
York, was deeply impressed with the title of 
Typothetae, as thus originated, and he caused 
the name to be used for the gathering of the New 
York printers, which took place when they 
sat down to dinner together on the 22d of Feb- 
ruary, 1863. This choice of a name proved a 
happy one, and the New York Society, on the 
iitli of December, iSS;,,, readopted it. Mr. 
Baker is also responsible for the pronunciation, 
ty-poth'-e-te, which he thought should be in 
accordance with apostrophe and many other 
words, with the accent upon the antepenult. 
This, we learn from Prof. Henry Drisler, of 

Columbia College, one of the leading classical 
scholars of the country, is really right — the 
pronunciation ty-po-the'-te being wrong. 

The first meeting of the society was almost 
entirely occupied in discussing the nine-hour 
question and in preparing a constitution and 
providing for the future meetings of the organ- 
ization. Ii was felt that there should be more 



intercourse in the trade among its members, and 
that such intercourse would be valuable. Within 
the half century preceding this meeting the 
population of the country had increased nearly 
fourfold, but the amount of printing had mul- 
tiplied twelve times. New conditions of things 
had come, and readjustment of many problems 
was necessary. The answer to the nine-hour 
demand of the workmen was that few other 
trades worked nine hours; that ten hours did 
not impose an excessive strain upon a man, and 
that the increased price which it would be nec- 
essary to ask for orders in the future would stop 
a great deal of printing and would inflict actual 
loss, and perhaps bankruptcy, upon many em- 
ployers. At present, throwing aside paper, the 
expenses of a printing-office are about 55 per 
cent for labor, and 45 per cent for superintend- 
ence, rent, insurance, power, and man}- other 
things which add to the cost of production. To 
lessen production one-ninth would reduce the 
cost for labor to about 48 per cent of the former 
aggregate, the other 45 remaining as before. 
Hence, if the loading necessary in the one case 
were 82 per cent, in the other it would be 91, or 
one-ninth more, supposing the scale was unal- 
tered. They did not believe the public would 
pay this, nor did the}* believe the workmen gen- 
erally desired it; but that the most of those who 
had indicated acquiescence had done so to keep 
on good terms with their more energetic breth- 
ren. After this meeting the question did not 
come up again until the Cincinnati gathering, 
when Mr. Rockwell, of Boston, Mr. Gushing, 
of the same city, and Mr. Pugh, of Cincinnati, 
thought the question should be re-opened. The 
two former gentlemen argued that, as workmen 
lived farther from their offices than in 1850, 
they were obliged to spend more time in transit, 
which was really an addition to their day's work; 
as business was more strenuous, and as machines 
had, to a certain extent, displaced men, it would 
be right to shorten hours. More attention, 
probably, would have been paid to their argu- 
ment, but just at this time a strike occurred in 
Pittsburg, the men asking for fifty-four hours a 
week. It was plainly supported by the Inter- 
national Union, although there was no enact- 
ment by that body upon that subject. The 
Typothetae sustained the action of the Pittsburg 
employers, both in person and by money, al- 
though the latter amount was inconsiderable. 
The strike lasted for about twenty months, when 
it was abandoned, the hours again being fifty- 
nine each week. The continuance of the strike 
formed a potent reason against a shortening, and 



HISTORY OF THE UNITED TYPOTHETAE. 



similar arguments to their former ones, advanced 
by the Boston delegation during the Toronto 
meeting, did not receive much consideration. At 
that meeting, however, the question was argued 
on its merits, and was not stifled. 

The apprenticeship question has been taken 
up at nearly every meeting. In the largest cities 
the feeling has seemed to be that it would be 
impossible to cause apprentices to live up to 
their agreements, nor would the boys be profit- 
able; but in the smaller cities most of the mem- 
bers felt that much could be done by suitable 
regulations. Reports were also made on standards 
of type, and on the point system. It was argued 
that each size should be an invariable one, and 
that the spaces and quadrates of one foundry 
could be used interchangeably with those of 
any other foundry. This reform has now, to a 
very large extent, been taken up by the type- 
founders, and in the course of a few years we 
may look for an invariable standard which shall 
be alike for all, and which shall vary only as 
occasioned by difference of care and precaution, 
and as affected by personal equation. 

Much time has also been given to methods of 
laying out printing-offices and fitting them up 
with improved appliances. 

A very valuable labor has been performed in 
the consideration of the cost of producing work. 
Ever}- job has a certain amount of time expended 
upon it in the composing-room, and again in 
the press-room. In the press-room the paper 
must be charged, as well as the ink. But as in 
the composing-room a thousand dollars' worth of 
material is necessary to keep a journeyman 
going, the type depreciating 15 per cent a year, 
and in the press-room two thousand dollars' of 
plant is required for each man, that depreciating 
10 per cent a year, charges must be made on 
account of the wear. Everything must be 
housed, and everything insured. Heat, light 
and power are necessary, and managers and 
foremen must be provided, while there are a 
multitude of little expenses which must be con- 
tinually met. It is therefore necessary for the 
printer to know how to estimate these costs, and 
how to distribute them upon- each order. If 
they are not reckoned in, the printer soon falls 
into the sheriff's hands. This question has been 
very prominently before all the meetings. Each 
part of this problem has been discussed and 
written upon, and if there are as many failures 
among printers in the next half-dozen years as 
in the last half-dozen, it will not be because 
there have been no beacon-lights to make clear 
the way. There is less deviation from prices 



which are regarded as good than there formerly 
used to be. 

The purely literary aspects of printing have 
not attracted very much attention. The printer 
of to-day is more a commercial man and less a 
literary man and a scholar than he was sixty 
years ago. He employs writers, when that is 
necessary, instead of himself writing. The 
second session of the Typothetae, that in New 
York, was largely taken up with a discussion of 
the proposed copyright law of the United States, 
since passed. It was agreed that authors should 
receive advantage from their work, even though 
foreigners. This was coupled with a clause in 
the enactment that the actual work of type- 
setting should be done here, in order to give 
such benefits as might ensue to the American 
trade. Since its passage, Mr. Richard Ennis, one 
of the delegates from St. Louis, who opposed 
the theory from its beginning, has several times 
attempted to bring the matter before the United 
Typothetae, to obtain a new and adverse ex- 
pression of opinion, but has been unsuccessful 
in this effort. 

The meeting of the Typothetae, at Chicago, 
the first time, wound up with a banquet at Kins- 
ley's. It was agreed that the next meeting 
should be at Xew York, and much effort was 
made in that city to give such entertainment as 
would be suitable. It included a trip around 
the harbor and to Glen Island, with a clambake 
and a banquet at the Metropolitan Opera House. 
Mr. De Yinne, who was the first president of 
the Typothetae, made a scholarly address, and 
urged upon the printing craft everywhere the 
necessity of organization. Mr. De Yinne is the 
son of a Methodist minister, and has now been 
in the printing business more than forty years. 
He has been very successful in this, both in the 
pecuniary aspect and in relation to the quality 
of work turned out. In many respects he has 
the best-equipped office in America. He is a 
man of thoroughness, and had acquired much 
prominence by his investigation of many prob- 
lems interesting to printers. The new president 
elected at the Xew York meeting was Andrew 
McXally, of Chicago, who had come to the 
United States as a very young man, without a dol- 
lar of capital, and had built up a business larger 
than any other in the United States which had 
only existed for one lifetime. Mr. McXallv had 
been very prominent in the initial meeting of 
this organization, and has since been continually 
a pillar of strength to it. The third meeting was 
at St. Louis, and was characterized by the same 
devotion to business as the others. A banquet 



HISTORY OF THE UNITED TYPOTHETAE. 



was given on board the steamship Annie P. Silver. 
At this meeting Horace T. Rockwell, of Boston, 
was chosen president for the next year. In ac- 
cordance with a resolution of the convention, 
agents were appointed to visit towns in which 
typothetses had not been organized and see 
whether they could not be induced to come in. 
A very reasonable degree of success was attained. 
When at the appointed time next year the con- 
vention met at Boston, it was evident that in 
Colonel Rockwell the Typothetae had chosen 
one who had excellent parliamentary qualifica- 
tions. Business never moved more rapidly or 
more systematically than it did under his presi- 
dency. From Boston the meeting was changed 
to Cincinnati, when the members were warmly 
greeted. Here for the first time the ladies were 
especially cared for. Some of them had been 
in attendance at all the meetings from New 
York to Boston, but they were obliged to look 
out for their own comforts. In Cincinnati the 
ladies were taken, at times when the gentlemen 
could not be with them, to theatres and to the 
Eden Park Museum of Art, thus shortening 
much the hours of absence. One of the features 
of the Cincinnati meeting was very much en- 
joyed. It was the excursion to High Bridge, 
Ky., and to Ashland, the old home of Henry 
Clay. Here an old-fashioned collation was set 
forth, liberal to the extreme of liberality, and 
half a million dollars' worth of horse-flesh was 
shown — the racing studs of two great estates. 
At this meeting Achilles H. Pugh presided, with 
dignity and ability. 

The Typothetae now concluded to meet out- 
side of the United States, at Toronto, Out., 
having been urgently solicited so to do by the 
delegates from that city. It is impossible to 



conceive of a warmer welcome than tHe Cana- 
dians tendered their American cousins. The 
ladies had a separate banquet; they were given 
a ride about the harbor, and carriages were pro- 
vided for their comfort. All those present, 
ladies as well as gentlemen, were taken to Nia- 
gara and given a fish banquet at one of the 
places on the lake. William A. Shepard was 
the president. A natural orator, he unites 
with this high business qualifications and an 
unfailing courtesy. The last of the towns in 
order, up to the present time, was Chicago. 
This made the second time of meeting there. 
As the delegates from that city said, before the 
new place of convening was determined : ' ' We 
can accommodate you better any other year, 
and do more for you, than w r e can this. But we 
shall not have the World's Fair at any other 
time, and if you want to come we w T ant you to 
do so. ' ' They gave the invitation ungrudgingly, 
and the printers, as well as most of the other 
well-to-do citizens of Chicago, entertained visit- 
ors from the beginning to the close of the Fair. 
Their efforts for the promotion of the comfort 
of those who attended the Typothetae meetings 
were unremitting. The sessions were held on 
the grounds, and the banquet was at the New 
York State Building. The features of the occa- 
sion were drives up the Boulevards and a drive 
in tally-ho coaches into the Fair grounds. The 
latter was devised by Mr. C. H. Blakely, of that 
city, one of the staunchest Typothetce members. 
The coaches held nearly forty persons apiece, 
and in long array were driven up to and through 
the gates, a privilege never before accorded to 
any one. 

The officers of the United Typothetae from 
its beginning have been as follows : 



President. 

I i 'I'll. o. I.. I)'- ViniK-, 
■ - Andrew McNally, 
! [orace T. Rockwell, 

ii. Pugh, 
w. a. Shepard, 
• \\ II. Woodward. 
(7) John k. McFetridge. 
I 'lace : Chicago [887 



Treasurer. 
A. O. Russell, 
A. o. Russell, 
A. o. Russell, 
a. o. Russell, 
Charles Buss, 
Charles Buss, 
Charles Buss. 



C/i a ii ma n Exccuti 7 <e 
Committee. 
Howard I,ockwood, 
Howard koekwood, 
Howard koekwood, 
Amos Pettibone, 
Amos Pettibone, 
Amos Pettibone, 
Joseph J. Little. 



Corresponding 
Seer eta ry. 

Sam. Slawson, 



Recording- 
Secretary. 
James Davidson, 



Secretary, 



Kverett Waddey, William Johnston, 



Everett Waddey, J. S. Cushing, 
Everett Waddey. W. I,. Becker. 

— Everett Waddey, 

W. C. Rogers. 
Everett Waddey. 
; New York i^v St. I.ouis 1 I89; Boston [890; Cincinnati [891; Toronto [892; Chicago [893. 

//'. //'. Pasko. 



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PAST-PRESIDENTS, UNITED TYPOTHET.E OF AMERICA. 



1. THEODORE L. DE VINNE. 

2. ANDREW MCNALLV. 



3. H. T. ROCKWELL 

4. A. H. PUGH. 



5. W. A. SHEPARD. 

6. W. H. WOODWARD. 



PAST-PRESIDENTS OF THE UNITED TYPOTHETAE OF AMERICA. 




O light responsibility rests upon 
the executive heads in the 
successful conduct of any 
national body, whose regular 
deliberations have for their 
object the broad and essen- 
tially unified interests of its 
membership; either order or 
chaos can be evolved from any proceedings 
through the administration of matters during a 
convention. For this reason, if for no other, the 
president of such an organization is generally 
one possessing both parliamentary knowledge 
and self-control ; while his influence in the prac- 
tical results of assembly is immediately apparent. 
The United Typothetae of America has been 
singularly fortunate in the respect just touched 
upon; its executive officers have been uniformly 
efficient in preserving its influence upon the 
printing trade of the country intact, and further 
than this, in correcting many insidious abuses 
which have threatened to undermine the solidity 
of profitable printing. No other preliminaries 
are needed in offering a group of the past -presi- 
dents of this honorable and influential associa- 
tion of master printers of the United States and 
Canada, together with the salient facts attending 
their lives. 

THEODORE E. DE VINNE. 

Theodore Low De Vinne (second son of the 
late Rev. Daniel De Vinne) was born in Stam- 
ford, Conn., December 25, 1828. At the age of 
fourteen he undertook to learn the printing busi- 
ness in the office of the Newburgh Gazette, New 
York State, in which office he was taught the 
elements of composition and presswork. In 1848, 
he went to New York City, and there worked in 
several book and newspaper offices. In 1850, he 
became the foreman of the printing-house of 
Francis Hart. Eight years afterward he was ac- 
cepted by him as junior partner. On the death of 
Francis Hart, in [877, he succeeded to the busi- 
ness, changing the name of the firm to Theo. 
I.. De Vinne & Co., in which firm his son, Theo- 
dore Brockbank, was made a partner. The 

growth of the business compelled him to seek a 

larger building, at tin- corner of Lafayette Place 
and Fourth Street, in which tin- business of the 
house i^ now done. 

In 1S72, lie began to do work for the Century 

Company ! then but recently established 1 and 



has ever since remained the printer of that com- 
pany, printing the St. Nicholas, Century, and 
other publications. 

Mr. De Vinne has never lost his interest in 
printing. In 1862, with Peter C. Baker, he 
formed the first association of master printers 
in New York City (now known as the Typoth- 
etse). For many years he was the secretary, 
and now is the president of the New York 
Typothetae. He was the first president of the 
United Typothetae of America. He is a member 
of the "Aldine," " Grolier," "Authors," and 
"Century" Clubs of New York, and is in 
correspondence with many literary societies in 
this country and in Europe. His tastes are 
eminently bookish, both from a practical and a 
theoretical point of view. In 1869, he published 
"The Printers' Price-list," and another edition 
in 1872. It is now out of print and will not be 
reprinted. He is the author of ' ' The Invention 
of Printing," 1876, and " Historic Types," 
1886. 

ANDREW MCNAIRY. 

The second president of the association was 
Andrew McNally, the well-known publisher, 
who is a typical Chicago business man. AYe 
quote from a sketch embodying the principal 
events of his career : 

During more than thirty-five years he has 
applied himself strictly to the development of 
the printing industry in this country, has no 
peer in the West, and is regarded as one of the 
most successful publishers of his day. Mr. 
McNally is of Scotch descent, and possesses all 
those sturdy traits of character peculiar to his 
ancestors. Born in the north of Ireland in 1836, 
he obtained a liberal education. Early in life 
he was apprenticed as a printer. For seven 
years he worked industriously in the printing- 
house of John McWaters, of Armagh. There 
he became familiar with the details of the busi- 
ness. From proof-boy he rose to a position 
embodying all the responsibilities of the trade. 
While thus serving his employer, Mr. McNally 
obtained that clear insight into the publishing 
business and cultivated those inherited qualities 
that have stood him in such good stead in after- 
life. It was while industriously acquiring this 
knowledge that the ambitious young Scotchman 
conceived the idea of seeking his fortune in 
America. In [858, he landed in New York, but 



16 



PAST-PRESIDENTS OF THE UNITED TYPOTHET/E OF AMERICA. 



soon left that city and journeyed toward 
Chicago, arriving in the city which even then 
had a promising outlook for the future, and 
started the Evening Star, a penny paper. Sub- 
sequently, this enterprise, with a small job 
office which he had opened, was sold out and he 
took charge of the Tribune job office, then the 
largest in the city. In that position Mr. McNally 
remained until 1864, when he became associated 
with W. H. Rand. Out of this grew the firm of 
Rand, McNally & Co. of to-day, which controls 
one of the most complete printing-plants in the 
country. The young firm met with more or less 
success until the great calamity of 1871, when 
the fire swept away everything, and Mr. McNally 
found himself almost as poor as on the day he 
arrived in the city. Not dismayed by the mis- 
fortune, he set about re-establishing the business 
of the firm. The flames that swept away so 
many hopes and fortunes were still blazing in 
the city when he purchased on the West Side 
the only printing-office that had escaped the 
conflagration. The plant was transferred to a 
brick building at 108 Randolph Street. All the 
available presses to be had were obtained, addi- 
tional type was secured, and in a few days the 
firm was again doing a thriving business. From 
that time the success of the firm was assured. 
The same energy and enterprise has marked the 
late development of the business. It grew up 
with and became a part of the new city. Al- 
though the publisher has applied himself almost 
entirely to the printing industry, he has engaged 
also in other financial ventures. He is Vice- 
President of the Chicago National Bank, and 
has been connected with that institution since 
its establishment. He is also connected with 
various other business interests. As a Director 
of the World's Columbian Exposition he ren- 
dered invaluable service to the city of Chicago 
as well as to the Fair. 

HORACE T. ROCKWEIJ,. 

Horace T. Rockwell, the third president of 
the United Typothetse of America, was born in 
Winchester, Connecticut, in 1838, but has re- 
sided in Boston since 1853. Through journal- 
istic connections of his father he became a news- 
paper reporter when he was but seventeen years 
old, and while serving in that capacity on the 
Boston Daily Courier, took advantage of oppor- 
tunities to familiarize himself with the inside 
detail of the printing-office, learning the " case " 
and doing more or less typesetting. Though 
not continuously maintaining these associations 
his predilections for the printing trade were 



simply held in abeyance, for in 1866, he started 
an office in connection with an older printer. 
His partner dying two years after this, the firm 
became Rockwell & Churchill, under which 
title it has continued until the present time. 
The business has been very successful, and the 
reputation of the firm maintained upon a high 
basis; its finer productions are particularly emi- 
nent, while the personal and commercial stand- 
ing of those controlling the concern are of the 
most distinguished. 

Colonel Rockwell has held several public posi- 
tions. He has served in the City Council of 
Boston, and in the Massachusetts Legislature. 
For seven years (by the appointment of three 
different governors) he held a responsible posi- 
tion upon the military staff of the state, and for 
three years he was chairman of the Boston 
Water Commission. He was also the first presi- 
dent of the Boston Master Printers' Club, and 
at the organization of the United Typothetse of 
America was an active delegate, being chosen 
as president of that national body at the elec- 
tions of 1889. To Colonel Rockwell belongs the 
honor of presiding at the very successful and 
memorable convention held at Boston, in 1890. 

ACHILLES H. PUGH. 

At the Boston convention Mr. Pugh was 
elected as president, presiding at the cordial 
deliberations in Cincinnati the following year. 

Achilles H. Pugh was born in Cincinnati, 
November 24, 1846, his father, Achilles Pugh, 
being publisher of The Philanthropist, an Abol- 
ition journal. His office was destroyed in 1836, 
but during the entire course of the agitation in 
favor of freeing the slaves he was actively iden- 
tified with that cause. The elder Mr. Pugh 
w T as a Pennsylvanian, a descendant of Ellis 
Pugh, a Quaker preacher, who emigrated to the 
colony of Pennsylvania, from Wales, in 1687. 

The subject of our present brief sketch was 
educated in the common schools of Cincinnati, 
and graduated from the High School in 1865. 
For ten years afterward he followed the pro- 
fession of civil engineer, spending several years 
in Colorado and Utah upon the construction of 
the Pacific Railroad and other western lines. 

In 1874, Mr. Pugh succeeded to the business 
of his father, which had been established since 
1852, and shortly after married a Miss Darr, of 
his native city. He was one of the delegates 
chosen by the Cincinnati Typothetse to repre- 
sent it at the organization of the United Ty- 
pothetse of America, in 1887. He was elected 
president of the national body in 1890, and the 



I? 



PAST- PRESIDENTS OF THE UNITED TYPOTHETAE OF AMERICA, 



convention in which he presided will be pleas- 
antly remembered. 

WILLIAM ALLEX SHEPARD. 

The fifth past-president of the national body 
was W. A. Shepard, one of the organizers of the 
Employing Printers' Association, of Toronto, and 
the second president of the latter organization, 
holding the position for two years. He has been 
an active member of its most important commit, 
tees, being at present chairman of the Execu- 
tive Committee. He was elected vice-president 
of the United Typothetae at the New York con- 
vention of 1892, and has been present at each 
succeeding meeting of that association. At the 
Cincinnati convention, held in 1891, he was 
elected president, and in 1892, gracefully wel- 
comed the delegates to the beautiful city of 
Toronto. The historian of the Typothetae for 
that year has told how well he did his work as 
presiding officer and as host. 

Mr. Shepard was born in Brownsville, N. Y., 
Jul}' 6, 1830, and when but six months of age 
accompanied his parents to Canada. He after- 
ward taught school near Belleville. In 1847, ne 
went to Hamilton and apprenticed himself to 
the printing-office of the Canada Christian Ad- 
vocate, of which his father, Rev. Gideon Shep- 
ard, was subsequently the editor for eight years. 
He became foreman before half his apprentice- 
ship had expired, filling the position for a num- 
ber of years. 

In 1858, "sir. Shepard became man of all work 
on the Intelligencer, Belleville, being composi- 
tor, local editor, compiler of directories, etc.; 
when the gold fever broke out in Belleville and 
the Daily Intelligencer was started, he assumed 
its guidance. He was a political writer of abil- 
ity, and added much of interest to that paper. 

The Intelligencer Printing and Publishing 
Company was a later expression of his organiz- 
ing capacity, and he remained managing direc- 
tor and editor of the business until he removed 
to Toronto, where he became connected with 
the Mail Job Printing Company, since which 
time he has built up one of the most notable 
establishments in Canada. His knowledge of 
the printing art is extensive, and his taste excel- 
lent. 

W. H. WOODWARD. 

W. II. Woodward, President of the Wood- 
ward .x. Tit-man Printing Company, of St. Louis, 
was born at Coventry, England, December 11, 
1S34. His father was a minister of the Protest- 
ant Episcopal Church, and came to this country 



in 1845, taking up his residence first at Burling- 
ton, X. J., and later becoming the rector of a 
church in Philadelphia. It was during this pe- 
riod that young Woodward received his educa- 
tion and in the city to which he now returns as 
a delegate to the convention of the United 
Typothetae of America, and one of the leading 
employing printers of the country. 

He commenced to learn the printers' trade at 
Madison, Wisconsin, in the office of Atwood & 
Buck, in 1850, and completed his apprenticeship 
in the job office of the old Missouri Republican 
of St. Louis. He worked there as journeyman 
for several years, finally being promoted to fore- 
man, a position he held until 1865. He then 
purchased a small printing business, which he 
carried on by himself for two years, when he 
took James Tiernan into partnership. The bus- 
iness grew steadily from the start and increased 
its proportions up to the death of Mr. Tiernan, in 
1887, when it was merged into a stock company, 
with Mr. W T oodward as president and principal 
stockholder. Greater prosperity than ever at- 
tended this change, and the Woodward & Tier- 
nan Printing Company is now the largest 
printing establishment in the United States west 
of Cincinnati and south of Chicago, and boasts 
of more departments than any printing-house in 
the country. 

The business, which was originally that of a 
job-house, has taken on new departments from 
time to time until it now embraces lithograph- 
ing, steel-engraving, electrotyping, line and 
half-tone photo-engraving, blank-book making, 
binding and map-engraving. 

Mr. Woodward is public-spirited, always 
ready to support any measure looking to the 
welfare of his profession, and is a leading mem- 
ber of an organization of prominent citizens for 
the advancement of the interests of St. Louis. 
He was one of the original members of the 
Typothetae of St. Louis, and was its president 
during the strike of 1885, which was settled 
through his good judgment and influence. He 
has been a delegate to every convention of the 
United Typothetae since. In 1892, he was 
elected president of the national body, and pre- 
sided over its meeting on the World's Fair 
Grounds at Chicago last year. 

The group of portraits designating the fore- 
going gentlemen bears at its bottom the his- 
toric arms of the Typothetae. The portraiture 
is true to the originals, and will be cherished as 
a souvenir of ever-vital interest by those who 
have followed the course of the United Typoth- 
etae since its incipience. 



is 





JOHN R. McFETRIDGE. 
PRESIDENT, UNITED TYPOTHETiE OF AMERICA. 



THE EXECUTIVE OF THE UNITED TYPOTHET^ OF AMERICA. 




JOHN R. MCFETRIDGE, PRESIDENT. 



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v^J^V 



^ OHN R. McFETRIDGE, an 
excellent portrait of whom 
appears in this connection, is 
a native of Philadelphia, and 
his entire career has been 
devoted to active participation 
in printing and its allied terri- 
tory and many interests. 
As president of the United Typothetae of 
America he is one of the leading citizens of 
Philadelphia, and a master printer of recognized 
eminence in the printorial world. In reviewing 
his career, we can do no better than to repro- 
duce the substance of a sketch previously 
appearing in Paper and Press. 

On the ist of April, 1893, when Burk & 
McFetridge Company succeeded Burk & McFet- 
ridge, the event marked a change in the style 
of one of the best-known firms in the trade, 
dating from September 15, 1877, when it suc- 
ceeded to the business of the old Inquirer 
Printing House, founded in 1810, by Jesper 
Harding. 

Mr. McFetridge entered the employ of Mr. 
Harding at an early age, and filled an important 
position until 1877, when, with William M. 
Burk, he purchased the business from William 
W. Harding who had succeeded to the interests 
of his father, and established the firm of Burk 
& McFetridge. The new firm was a success 
from the beginning, and at once acquired a con- 
spicuously honorable position among the busi- 
ness houses of Philadelphia. In the years that 
have since elapsed, the firm has enlarged its 
establishment, and increased its facilities to 
meet the demand of a rapidly enlarging trade, 
until their plant, at Xos. 306 and 308 Chestnut 
Street, is one of the best of its kind in the 
United States. The work embraces printing, 
lithographing and publishing, in all their 
branches. 

Mr. McFetridge is president of the Phila- 
delphia Typothetae, an association comprising 
the leading master printers of eastern Pennsyl- 
vania. His present occupancy of the position of 
President of tin- United Typothetae of America, 
comprising all tin- various local branches of 
Typothetae throughout tin- United States and 
Canada, is the highest honor in the power of 
this influential body to bestow, and denotes its 



appreciation of qualities which fit an executive 
for his position in its deliberations. Mr. Mc- 
Fetridge was a delegate to conventions held in 
New York, Boston, St. Louis, Cincinnati, To- 
ronto and Chicago. He is also a conspicuous 
member of the fraternity of Free and Accepted 
Masons, and successfully labors in the interest 
of the various branches of the Order. He is 
the first initiate member of Potter Lodge, Xo. 
441, F. and A. M., and was the Worshipful 
Master of that Lodge in 1881. He was elected 
Treasurer very soon after his term as Worship- 
ful Master, and has been unanimously re-elected 
to the position at each succeeding annual elec- 
tion since. He is a member of Harmony Chap- 
ter, Xo. 52, Holy Royal Arch Masons, a mem- 
ber of St. Alban Commandery, Xo. 47, Knights 
Templar, of which body he was the Eminent 
Commander in 1888 and 1889, and continues to 
officiate in that capacity in conferring the Order 
of the Temple. He is a director in the Phila- 
delphia Bourse, and a member of the Executive 
Committee of that association. He is also 
identified prominently with numerous business 
enterprises of a corporate character, in all of 
which he displays the same degree of interest, 
the same cordial courtesy, the same untiring 
vigor, which have so materially contributed to 
his undivided prosperity and so widely increased 
his circle of friends. • 

EVERETT WADDEY, SECRETARY. 

Everett Waddey, the secretary of the United 
Typothetae of America, was born on March 25, 
1853, m Thomasville, Ga., of Virginia parents, 
and resided in Virginia since he was four years 
old. He went to the printing business at the 
age of fourteen. After five years as a journey- 
man spent in various cities, he went into the 
stationery business as a travelling salesman. 
He started in business on his own account in 
July, 1SS2. After a successful prosecution of 
the same for eight years he formed the joint 
stock company bearing his name and of which 
he is president. He was elected the correspond- 
ing secretary of the United Typothetae of 
America at the second annual convention, held 
in New York in [888, and was continuously re- 
elected to that office until it and the office of 
recording secretary were consolidated at the 



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THE EXECUTIVE OF THE UNITED TYPOTHETSE OF AMERICA. 



Cincinnati convention in 1891, when he was 
elected secretary, which office he has held ever 
since with honor and distinguished efficiency. 

JOSEPH J. UTTEE, CHAIRMAN, EXECUTIVE 
COMMITTEE. 

The Hon. Joseph J. Little, one of the most 
prominent participants in the transactions of 
the United Typothetse of America, and the 
capable chairman of its Executive Committee, 
is a native of England, having been born in 
Bristol, June 5, 1841. He accompanied his 
parents to the United States in the early part of 
1846, residing in the village of Morris, Otsego 
County, New York. Here he received his edu- 
cation in the village district school, and after- 
ward became apprenticed to the local printer. 
He was then but fourteen years old, and 
remained in the position for four years, at the 
expiration of which time he entered a book 
office in New York City to complete his trade. 

Mr. Little enlisted in the Union Army, serv- 
ing in 1862, in 1863, and 1864, as corporal, first 
sergeant, and first lieutenant, respectively. 
He is now the colonel of the Seventy-first Regi- 
ment Yeteran Association, and a member of 



Lafayette Post, No. 140, Department of New 
York, G. A. R. 

In 1866, Mr. Little was married to a daughter 
of John Robinson, a direct descendant of John 
Robinson, who came over in the Mayflower. 
The following year he established the printing 
business which bears the name of J. J. Little & 
Co., and which is one of the best-known firms 
in New York. The Congressional Directory 
offers the following facts as to his distinctions: 

Mr. Little was a member of the Fifty-second 
Congress, being elected from the Twelfth Dis- 
trict. He was a member of the Board of Edu- 
cation and chairman of Committee on Buildings 
at the time of his election, and was an active 
member of the New York World's Fair Com- 
mittee. He was also one of the incorporators 
in the World's Fair bill passed by the New York 
Legislature, as also in the Congressional bill 
introduced in behalf of New York. He was 
elected to Congress as a Democrat to fill the 
unexpired term of Roswell P. Flower, receiving 
a large majority of the votes of his district. 

Mr. Little is an influential member of the 
New York Typothetse, and one of the best- 
known men in the national bodv. 



According to a statement made in a recent 
lecture by Shugeo, a noted Japanese savant, and 
noted as follows by The Monthly Bulletin, 
the oldest Japanese manuscripts, like those of 
Europe in the Middle Ages, were highly deco- 
rated with miniatures, capitals and other orna- 
mentation. The art of printing was introduced 
into Japan from China. The oldest printing 
from movable type dates from 770 A.D. A copy 
of this publication is still extant. The first 
printing of wood-engravings dates from 1328, 
the first impression made with colors, from 1695. 
At the present time, Japanese publishers gener- 
ally print only on page one of the sheet. The 
native paper is very strong, but papers of a 
poorer grade, imported from abroad, are now- 
beginning to be used. The cover for ordinary 
books is made out of the same kind of paper, 
and on it are printed the title of the book, 
the date, edition, and name of publisher. In 

the case of more valuable books, the covers are 
of cloth Or silk. In most recent times, books 
art- also being hound after European fashion. 

Apropos of curious newspapers, says the 
paper quoted as authority for the foregoing 



notice, the Esquimaux Bulletin is certainly the 
most curious in the world. It is primed at Cape 
Prince of Wales, Alaska, in latitude 54 degrees, 
40 minutes, and claims to be the only journal 
published within the Arctic Circle, while it is 
issued only once a year. 

This little paper is printed on stiff white 
paper, on one side only, the size of the sheet 
being 12x8 inches. It is printed not from type, 
but by the hectograph process, and contains a 
variety of news, arranged under different heads. 
In mirthful imitation of the daily papers in 
other localities, it triumphantly carries at the 
head of its columns the legend, " Largest Circu- 
lation in the Arctic," and also the additional 
boast of "Only Yearly Newspaper in the World. ' ' 
The Esquimaux Bulletin is in error, however, 
in assuming this sub-title. Has our contempo- 
rary seen a copy of the Atnaglintit? 

That is also a yearly paper, and it is published 
in about the same latitude as the Esquimaux 
Bulletin, at Goothaab, in Greenland. A Pari- 
sian journal, the XXe Siecle, appears once a 
year, but that is only to secure the right to the 
title when the twentieth century becomes a 
fact. 



22 



OFFICERS 



TYPOTHET^ OF PHILADELPHIA 

^1894* 



PRESIDENT 
John R. McFetridge 

SECOND VICE-PRESIDENT 
J. R. Jones 

CORRESPONDING SEC RE TARY 



FIRST VICE-PRESIDENT 
M. Richards Muckle 



William M. Patton 



Stephen Greene 
Louis E. Levy 



EXECUTIVE COMMITTEE 
George H. Buchanan 



RECORDING SECRETARY 
John W. Wallace 

TREASURER 
William B. MacKellar 

William F. Fell 
William F. Geddes 



EIGHTH ANNUAL MEETING 



UNITED TYPOTHET^ OF AMERICA 

Held in Philadelphia, September 18, 19, 20 and 21, 1894 



The following Committees were, comprising all the members, appointed to carry out 

the duties incident to the occasion : 



Stephen Greene, 
A. G. Elliot, 



FINANCE 
M. Richards Muckle, Chairman. 
J. R. Jones, 
Geo. H. Buchanan, 



C R. Carver, 
Wm. F. Fell. 



ENTER TA INMENT 



Edwin S. Stuart, 
Clayton McMichael, 
Stephen Greene, 
M. Richards Muckle\ 
Prank Mclaughlin, 

J. K. J 

Charles J. Cohen, 
M. F. Benerman, 
C. \v. Edwards, 

« ,. ■ .. 1 1. Buchanan, 
John \v. Wallace, 
wm. F. Pell, 

C. R. Carver, 
W. M. I 'at ton, 

Walt, r i;. Hering, 

A. I ,. l-.lliot. 

John I). Avil, 
Alfred j. Briggs. 
Frederick B. Gilbert, 

William II Nixon. 

Chas, m. Sb ii 
Thos. s. Dando, 

)•,. B. Yordv, 
Wm. M. Jordan 



William B. 
Frederick Munch, 
Wm. n. Hoskins, 

Alfred M. Slocum, 
Jos. II. Maun, 

r. ii. Brown, 
Nathan Billstein, 
Wm. !•'. Geddes, 
Ainhrosc Shapley, 
William M. Taggart, 
R. W. Ilartnctt, 

John Blakely, 
F. o. Woodruff, 
[vouis Wolf. 
Chas. I'.iuu Johnson, 

C. w. Bendernagel, 
Chas. R, Graham, 
chas. Dunkelberger, 

F. W. .McDowell. 

jas. Dobelbower, 

D. I). Engle, 
F. w. Farrell, 
I w. Pepper, 
Frank E Manning, 



MacKellar, Chairman. 
Wm. C. Squibb, 
Geo. E. Deacon, 
Chas. J. Dittess, 
Jos. A. Kslen, 
A. R. Keller Company, 
Geo. Wash. Jackson, 
G. G. Williams, 
Jos. B. Mitchell, 
Harry I''. Stern, 
John M. Rogers, 
I.ouis M. Levy, 

irw in x. Megargee, 
William J. Dornau, 
Janus W. Mills, 
Thomas 15. Morrcll, 
Han ford C. Smith, 
Ren wick Rodgers, 
Thos. a. Bradley, 
George F Rasher, 

James Iieale, 
John F. Bellows, 
Daniel W Clarke, 
Clymer Printing Company 



24 



E. Stanley Hart, 
Augustus Jackson, 
s. j. Magarge, 
A. II. Sickler, 
James Magee, 
Edgar M. Hoopes, 
II. .McAllister, 
Ceo. ]!. Wright, 
Chas. !<;. Hallowell, 
Chas. I,. Merrill, 
15. F. Banes, 
W. A. Church, 
Wm. T. Elliott, 

j. c. Evans, 
U. C. McKee, 
Matthew Jackson, Jr. 
Charles W. Iieck, 
Daniel S. ISoiincv, 
Samuel M. Kennedy, 
Duncan & Co., 
Gibson Catlctl, 

0. A. Zabel, 

W. S. Morse, 




1 



* 




OFFICERS, TYPOTHET.E OF PHILADELPHIA. 

JOHN R. MCFETRIDGE, PRESIDENT. 
M. RICHARDS MUCKLE, FIRST VICE-PRESIDENT. J. R. JONES, SECOND VICE-PRESIDENT. 

JOHN W. WALLACE, RECORDING SECRETARY. 

WILLIAM M. PATTON, CORRESPONDING SECRETARY, 



riLLIAM B. MACKELLAR, TREASURER. 



Edwin S. Stuart, 
Frank Mclaughlin, 
M. Richards Muckle, 
J. R. Jones, 



RECEPTION 
Clayton McMichael, Chairman. 
William M. Taggart, John W. Wallace, 

Jas. R. Young, Wm. M. Patton, 

A G. Elliot, Geo. E. Deacon, 

Chas. M. Stoever, John D. Avil, 



James W. Mills, 
Wm. H. Hoskins 
Harry F. Stern, 
Wm. H. Nixon. 



Fred. B. Gilbert, 
John W. Wallace, 



HOTELS AND HALLS 
Walter E. Hering, Chairman. 
Chas. Eneu Johnson,, Chas. M. Stoever, 

C. W. Bendernagel, William J. Dornan, 



F. W. McDowell 
S. J. Magarge. 



Stephen Greene, 
Alfred M. Slocum, 



BANQUET MUSIC AND ADDRESSES 
William F. Fell, Chairman. 



Irwin N. Megargee, 
Jos. B. Mitchell, 



D. D. Engle, 
Fred. Munch, 



U. C. McKee, 
Robert H. Brown. 



John W. Wallace, Chairman. 



PRINTING 
W r m. M. Patton, 



C. R. Carver. 



C. W. Edwards, 
George B. Wright, 



CO A CH RIDE 

John M. Rogers, Chairman. 
R. W. Hartnett, Louis Wolf, 

Chas. L. Merrill, Chas. J. Dittess, 



Thos. A. Bradley, 
Daniel S. Bonner. 



M. F. Benerman, 
Louis E. Levy, 



EXCURSION 
Alfred J. Briggs, Chairman. 
W. F. Geddes, James Beale, 

George F. Lasher. Wm. C. Squibb, 



Jos. H. Mann, 
Daniel W. Clarke. 



Wm. M. Patton, 

M. Richards Muckle, 



PRESS 
Clayton McMichael, Chairman. 
Frank McLaughlin, Hanford C. Smith, 

William M. Taggart, C. W. Edwards, 



Edgar M. Hoopes, 
John Blakely. 



Mrs. J. R. McFetridge, 
Mrs. J. R. Jones, 
Mrs. C. R. Carver, 
Miss Alice Johnson, 



ENTERTAINMENT OF LADY GUESTS 
George H. Buchanan, Chairman. 



Mrs. J. M. Rogers, 
Mrs. J. W. Wallace, 
Mrs. W. E. Hering, 
Mrs. W. M. Patton, 



Mrs. C. W. Edwards, 
Mrs. J. D. Avil, 
Mrs. W. F. Fell, 
Mrs. Geo. H. Buchanan. 



Mrs. Wm. B. MacKellar, 
Mrs. W. T. Donaldson, 
Miss Nellie W. Wallace. 



PROGRAMME OF THE CONVENTION 

The following are the arrangements perfected for the Convention: 

Monday, ijth. — Meeting of the Executive Committee. 

Tuesday, /<W/\ — Meeting of the Convention, two sessions. Informal Reception in the evening, 
at the Hotel Metropole, to Delegates, and Ladies. 

Wednesday, rgth.— Morning meeting from 9 to 11 o'clock; 11.30, Coach Ride through the 
Park to river-road drive, up the Wissahickon to Indian Rock. Lunch served. Places of amuse- 
ment in the evening. 

Thursday, 20th. — Trip to Atlantic City (City by the Sea), the great seaside resort of Phila- 
delphia. Dinner at Hotel Dennis. 

Friday, jisI . — Two sessions. Banquet in the evening for Delegates, at the Union League of 
Philadelphia. Banquet for the Ladies at the Hotel Metropole. 

A Ladies' Committee has been appointed to escort the Ladies to the various places of interest 
in the city. 

The meetings will be held in the large banqueting room of the Hotel Metropole. 

26 




CLAYTON McMICHAEL, 

FIRST PRESIDENT, PHILADELPHIA TYPOTHET^E. 



STEPHEN GREENE. 



FROM OVIO'S "TRISTIA 
VENICE, J. DE CIRETO, 14 



R. GREENE is now in the 
sixty-third year of his age, 
being born in Bainbridge, 
Chenango Comity, X. Y., 
September 25, 1831, from 
whence his parents moved 
into Pennsylvania in 1834. 
The public school system 
of Pennsylvania was organ- 
ized during the year 1836, 
and he had the advantage of attending the public 
schools of Marietta, Columbia and Washington, 
Lancaster County, Pa., from 1836 to 1845, to- 
gether with private schools during the summer 
months. While residing with his parents in 
Columbia in 1846, he left home to engage in 
teaching a public school in Hellam Township, 
York County, Pa., which he continued during 
the winter of 1846-7. After the close of this 
school, upon very careful consideration, he de- 
cided to learn the printing business, and in Octo- 
ber, 1847, entered the printing-office of the 
Pennsylvania Intelligencer, at Harrisburg, Dau- 
phin County. During the winter of 1847-8, he 
went through a practical experience from the 
bottom of the ladder, casting composition-rollers, 
washing rollers and type, setting type, working 
hand-press, and all an apprentice of those days 
in a country printing-office was expected to do, 
cheerfully, willingly, and without demur. At 
this period, the presswork of the great majority 
of city and country newspapers was executed on 
Washington, Columbian and other hand-presses. 
In May, 184S, he left the Pennsylvania Intelligen- 
cer printing-office, and entered the office of the 
Columbia Spy, Columbia, Lancaster County, Pa. 
In July, 1849, he came to Philadelphia, and was 
engaged as a compositor in the office of the late 
Wm. S. Young, Sixth Street below Arch. Dur- 
ing this period, his nights were employed in 
"subbing" on the Daily News, then published 
on Third Street below Chestnut. In the fall of 
this year, he returned to Columbia to assume 
charge of the mechanical department of the 
Columbia Spy, which was occupied by him 
marly continuously until April, [853, when he 
became one of the editors and proprietors. In 
[855, he became sole editor and proprietor, and 
continued the business until [857, when he sold 



the establishment, and in 1858 moved to Phila- 
delphia, to organize the new firm of Ringwalt & 
Co., printers, 34 South Third Street, of which 
he was the active member. He retired from 
this firm in i860, and in 1861, took the position 
of superintendent of the printing establishment 
of the late Henry G. Leisenring, 32 South Third 
Street. Here, in 1862, the first presses used in 
Philadelphia for printing consecutively -num- 
bered local and coupon, railroad and other tick- 
ets, were introduced under his direction. By 
his efforts and management, the volume of busi- 
ness was so largely increased that it became 
imperative to seek more commodious quarters, 
and room was secured and occupied in the large 
granite building, 237 and 239 Dock Street (which 
was destroyed by fire in 1872 ). He severed con- 
nection with the Leisenring Printing House in 
1 87 1, and entered into copartnership, forming 
the firm of Helfenstein, Lewis & Greene, to 
which he succeeded as sole proprietor in April, 
1 88 1, and continues the business at the present 
date. 

Mr. Greene has been engaged in the printing 
business for nearly forty-seven years. During 
this long and active career, it has been his 
constant aim to take advantage of the most 
improved machinery, to elevate the general 
standard of all classes of printing, and foster a 
correct taste. Always ready and willing to aid 
and impart information to others, he has made 
friends of all who have been brought into busi- 
ness relations with him, and secured the respect 
of his contemporaries. 

Whatever success he has attained is largely 
due to a thorough practical training, an early 
mastery of the business in every branch and 
detail, the adoption of, and strict adherence to, 
a thorough system, and to a love of types, ink, 
paper, presses, and all that is required for pro- 
ducing the highest order of finished work of 
the various classes. 

While engaged in and conducting an exten- 
sive printing business, Mr. Greene has also given 
time to other enterprises, with successful re- 
sults, and has devoted attention to aiding in the 
management of various benevolent, philan- 
thropic and religious organizations, where his 
time, council and aid have been freely given. 




STEPHEN GREENE, 

CHAIRMAN. EXECUTIVE COMMITTEE, TYPOTHET.E OF PHILADELPHIA. 



AN EARLY ASSOCIATION OF AMERICAN MASTER PRINTERS. 




ROBERT STEPHENS, 1537. 
PRINTED AT PARIS 



HE exact date when Ameri- 
can printers of the employ- 
ing class first established a 
local organization, in re- 
cognition of benefits to be 
derived therefrom, is very 
difficult to determine, and 
the industrial chronicler is 
thus forced to conjecture 
about what he would wish 
to know. It is well known that long before any 
national body had convened various associations 
in different sections of the country had been 
inaugurated to deal with such questions as 
might require adjustment, and to establish bet- 
ter environing conditions throughout the trade 
in their specific localities. Mr. Pasko, in his 
excellent historical article elsewhere in this 
volume, speaks of associations in Chicago, 
Philadelphia, Cincinnati, Boston and New York, 
formed during the civil war with a view to 
establishing prices. There is evidence, how- 
ever, of a coalition between master printers 
long prior to this period, and through the cour- 
tesy of John R. McFetridge, President of the 
United Typothetse of America, we are enabled 
to place in the hands of delegates to the Eighth 
Annual Convention of that body, a digest of 
what we believe to have been the first organiza- 
tion of employing printers, so far as the United 
.States is concerned. 

Mr. McFetridge has placed in our possession 
a copy of the constitution of the " Employing 
Printers' Association of Philadelphia," which 
was adopted February 7, 1835, the imprint at the 
bottom bearing date under that year. Of this 
interesting remain, the preamble is noteworthy: 
" Whereas, The associating of individuals of 
the same profession, for mutual information, 
counsel and assistance, must necessarily prove 
highly advantageous, as tending to unite in 
closer bonds of fellowship those who are inter- 
ested in each other's welfare; and as experience 
teaches that, by union and concentrated action, 
many laudable designs may be effected, which 
cannot be accomplished by individual effort; 
we, the subscribers, do hereby agree to form 
ourselves into a society, under the name of 
'The Employing Printers' Association of Phila- 
delphia,' to be- governed by the following:" 
'flu- balance of the pamphlet is also worthy 
of reprinting, and in this connection, as a mat- 



ter of unrecorded history, we offer a few extracts 
from the constitution, the full text of which is 
quite interesting. 

ARTICLE I. 
This association shall consist of employing 
printers of the city and county of Philadelphia. 

ARTICLE II. 
The officers of this association shall be a 
president, vice-president, secretary, assistant 
secretary and treasurer. 

ARTICLE VI. 
Candidates for Membership. 
Application for membership to be made at a 
stated meeting, when, if deemed necessary, a 
committee shall be appointed to make inquiry, 
and report to the next stated meeting on the 
eligibility of the candidate. If favorable, a bal- 
lot shall then be taken, and a majority of two- 
thirds of the members present shall be necessary 
for his election. On admission, he shall sub- 
scribe to the constitution, and pay an initiation 
fee of $3. 

ARTICLE VII. 
The association shall adopt a scale of prices 
for composition and presswork, by which all 
contracts for work shall be made, and any mem- 
ber violating this rule shall be liable to fine or 
expulsion. 

_^ 

Possibly the significant feature of this early 
association is its adoption of a scale of prices, 
doubtless decided upon as a means of protection 
against indiscriminate estimating on composi- 
tion and presswork. It could hardly have 
resulted from labor difficulties, as the Typo- 
graphical Union had not yet been organized. 

Whatever may be said as to the priority of 
credit which historic Philadelphia would appear 
to deserve for her possession of so ancient an 
organization of master printers, the little typo- 
graphical antiquity is very interesting and im- 
portant. It gives conclusive evidence that the 
printers of half a century ago were fully alive 
to the evils in their business, and understood, 
moreover, the only sure method of eradicating 
them. It also seems to warrant the position of 
Philadelphia as first among the cities of the 
United States possessing a distinctive master 
printers' association. 



30 



THOMAS MACKELLAR. 



Inseparably associated with the develop- 
ment of printing in America, to the advance- 
ment of which his high scientific attainments 
have ever been devoted, the subject of this brief 
sketch stands among the foremost of that dis- 
tingiiished few whose achievements in the typo- 
graphic world have rendered their names im- 
perishable. Head of one of the largest and best 
equipped type-foundries in the United States, 
and one which in two more years will celebrate 
its centennial anniversary, Mr. 
MacKellar has enjoyed a long 
and honorable career, the useful- 
ness and helpfulness of which 
have established his reputation 
upon those foundations which all 
mankind revere. No souvenir 
rendered possible by Philadelphia 
typography would be complete 
which disregarded a notice of one 
so long connected wuth American 
printing as the leading partner 
in the first American type-foun- 
dry, and a successful author and 
editor of printers' literature. 

Thomas MacKellar was born 
in New York, August 12, 181 2, 
and w T hen but nine years old 
entered the printing-office of the 
New York Spy ; this paper con- 
tinued but two years after this 
date, and the young printer then 
associated himself with J. & J. 
Harper, of the same city. His 
work in this office developed such 
excellence that his employers 
promoted him to the position of 
proof-reader when he was seven- 
teen years of age. Relinquish- 
ing this on account of over- 
strained eyesight, he w r ent back 
to the case to perform the fine 
or intricate work of the office. 
In April, 1833, he came to Phila- 
delphia as foreman of the com- 
posing-room in the foundry of L. Johnson, where 
for many years he acted as proof-reader as well, 
working eleven and sometimes fourteen hours a 
day ; subsequently he was forced to give all his 
time to the composing-room, where twenty books 
and over were often simultaneously in hand. 
To the immense diversity of literature which 
passed under his eye is due the broad general 
knowledge which served him well in later years. 

In April, i860, Mr. Johnson died, and his 
three junior partners, Thomas MacKellar, J. F. 



Smith, Richard Smith, and another gentleman, 
P. A. Jordan, purchased his interest in the busi- 
ness. The Typographic Advertiser, famous 
among printers at home and abroad, was 
brought out in 1S55, Mr. MacKellar editing it 
for thirty years, when his son, William B. Mac- 
Kellar became the editor. Mr. MacKellar sub- 
sequently issued the "American Printer," which 
which has reached its seventeenth edition. He 
has also written, omitting several smaller vol- 




THOMAS MACKELLAR. 

times, " Rhymes Atween-Times" and "Hymns ' ' 
and a few metrical psalms, of both of which 
two editions have been printed. 

Mr. MacKellar is distinguished in business, 
financial, philanthropic and religious affairs, to 
all of which he has given that force of character 
which has characterized his life. He is a doctor 
of philosophy. Recently his health has not 
been of the best, but he is able in a guarded 
way to continue a portion of his business and 
general work. 



5i 




FROM A PHOTOGRAVURE IN CURWEN. 



GUTENBERG EXAMINING HIS FIRST PROOF SHEET. 




PRINT BY THE GR 



MIDDLESEX, ENGLAND, AFTER AN ENGRAVING BY F. BACON FROM THE ORIGINAL PAINTING BY E. H. WEHNERT. 

WITH COMPLIMENTS TO "THE PRINTING WORLD.' 



I wh.n EXAMINING THE I IRST PROOF-SHEET FROM IMS PRINTING-PRESS IN WESTMINSTER ABBET, A. I). 1474. 



BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE. 




OTWITHSTAXDIXG t h e 
claims to priority made 
by the earnest supporters 
of Oxford University as 
the birthplace of English 
printing, the Caxton 
press was the undoubted 
forerunner of the art in 
England, and its products 
were the first books executed in that country. 
Dr. Middleton, in a valuable dissertation upon 
the origin of printing, written in Latin, and pub- 
lished at Cambridge in 1735, is said by Hum- 
phrey to have effectually disposed of the only 
evidence in favor of the first dated book from 
the University press (St. Jerome's "Exposicio 
in Simbolum Apostolonuji" dated plainly 
" Oxonicz, i^68 ,, ) y showing it to have appeared 
later than 1468, a date which, says Humphrey, 
' ' would not only place it before the earliest 
book printed in England by Caxton, but even 
before his first book was printed on the Conti- 
nent, and only two years after Ulric Zell, the 
pupil of Schoiff her, had brought the new art to 
Cologne, one of the first towns to which Guten- 
berg's system was carried direct from Mayence. ' ' 
It is not necessary to go over the ground in this 
connection ; the tangible evidences in favor of 
William Caxton, as the first English printer, are 
sufficiently known. The incorrectness of the 
date given in the book already mentioned has 
been amply pronounced upon by Middleton, 
Ducarel, Meerman and Humphrey, the latter of 
whom interestingly comments upon the work, 
which he had the opportunity of submitting to 
a close inspection. 

William Caxton, the father of English print- 
ing, whose press, ' ' seated in the Almonry of 
Westminster, ' ' added its immeasurable impulse 
to the diffusion of culture in his age, occupied 
a peculiar and pronounced position as a centre 
of force from which issued influences that were 
destined to advance England to a leading posi- 
tion as sponsor for the new art, a position 
more commensurate with later and more seem- 
ingly progressive periods than that in which he 
lived and labored. Out of his office came two 
of the best printers of their day, Richard Pyn- 
son and Wynkyn de Worde ; while his now 
traceable works enable us to go back to the first 
beginnings of the Westminster press. Of his 
life, Wm. Blades, perhaps the best authority 



upon Caxton, prior to his death, says (in the 
' ' Pentateuch of Printing " ) : 

"William Caxton was not born in 1412, as 
nearly all his biographers assert, but about ten 
or twelve years later, as we learn from the 
records preserved at Mercer's Hall, Cheapside. 
His name is there inscribed as having been ap- 
prenticed in the year 1438. His birthplace was 
somewhere in the Weald of Kent, perhaps at a 
place called Caustons, near Hadlow. His father 
sent him to school — by no means a usual expe- 
rience for lads in the fifteenth century— for 
which in his after-age he was deeply grateful. 
He was apprenticed at the age of twelve or four- 
teen to a wealthy mercer, a fact which, at a time 
when class prejudices were very strong, shows 
that his family were connected with the mer- 
chant princes of London. After a few years his 
master, Robert Large, died, and as Caxton's 
name, when he issued from his apprenticeship, 
does not appear in the mercers' books, there is 
little doubt that he went abroad. In 1446, we 
find his name mentioned in the town records 
preserved at Bruges, where he was considered 
sufficient security for a sum equal to no pounds. 
In 1453, he paid a visit to London, and took up 
his livery in the Mercers' Company. Ten years 
later he had raised himself to the highest honor 
an English merchant could attain abroad - that 
of Governor of the Merchant Adventurers in 
the Low Countries. Here he had great respon- 
sibilities, and was consulted and employed by 
the English Government in various matters 
connected with trade in those parts. In 1468, 
the Princess Margaret, sister of our Edward IV, 
was married to Charles the Bold, Duke of Bur- 
gundy, at Bruges. Here Caxton would be 
brought into friendly intercourse with the 
nobles of the English Court, many of whom 
took refuge there when King Edward, in 1470, 
was driven from his kingdom. Several treaties 
about trade between England and the Burgun- 
dian dominions were ratified about the time, in 
which Caxton took a leading part. In Bruges 
at this period there were magnificent libraries, 
consisting almost entirely of illuminated manu- 
scripts, and no doubt a few books from the 
German presses, which we know were selling at 
Paris, were to be had at Bruges also. In these 
literary treasure-houses Caxton would be able to 
indulge that taste for books which was a promi- 
nent feature in his character. He became 



33 



BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE. 



known, and, from some cause which at present 
has not been discovered, resigned his post of 
Governor and entered into her service. What- 
ever were the duties he undertook for the 
Duchess, his position was one of honor and 
trust, requiring his personal attendance upon 
her. Two causes ma}* have influenced Caxton 
in retiring from his post of Governor. Reckon- 
ing from a lawsuit in which his married daugh- 
ter was engaged in 1496, she would then have 
been twenty-six years of age, had her father 
married in 1469. As a married man he could 
not be a merchant in a foreign city, foreigners 
abroad as well as in England living a monastic 
life. Thus marriage may have been the moving 
cause. Added to this, the duties of Governor 
compelled him to make fre- 
quent journeys to other 
cities, and the occupation of 
so arduous a post for many 
years would naturally make 
him wish for relief and 
quietude. 

" Whatever the cause, his 
retirement gave him leisure 
to indulge his literary tastes, 
and he set to work to trans- 
late into English a French 
novel, which was then ( 1469 ) 
much admired in the Bm- 
gundian Court. It was a 
medley of Roman mythology 
mixed with Gothic knight- 
errantry and love adventures. 
Its title was ' The Recuyell 
(collection) of the Histories 
of Troy,' and the fact that it 
held its place in the popular 
esteem for at least two cen- 
turies later, shows us that 
it stood high in public opinion. After trans- 
lating a few sheets, Caxton put it on one side, 
but 'on a time,' when conversing with the 
Duchess, he showed his attempt to her. This 
W3S in 1469. She commanded him at once 
to finish the translation, which he appears to 
have taken two years to accomplish, continuing 
it, as he himself tells us, in Ghent, and finish- 
ing it at Cologne. And here it is important to 
notice that in both those cities there is no ques- 
tion of his learning printing. All he mentions 
about himself refers to the translation alone-. 
This brings us to 1 172-73. The- m-w book, 
patronized by the Duchess and the Court, was 

soon in greater demand among the courtiers 
than Caxton Could possibly supply by inanu- 




WXC 



WILLIAM CAXTON, FIRST PRINTER AT 

WESTMINSTER, I4IO-I49I. 



script. He was tired of so much writing, and 
naturally his mind turned to the new art of 
printing, specimens of which he had probably 
examined. Just at this time Colard Mansion, a 
citizen of Bruges, had erected a printing-press in 
a large room over the church porch of St. 
Donatus, and to him went Caxton. Colard 
Mansion set to work, Caxton helping him with 
money, and learning at the same time the new 
art and mystery. So it was that about 1474-75 
the book was completed and a copy presented to 
the Duchess. 

"This was the turning-point in Caxton's 
career ; for although he did not immediately 
leave his royal mistress's service, he spent some 
time in mastering the new art, and then with a 
quantity of newly-cast types 
made his way to England. 
There seems to have been no 
special reason why Caxton 
should choose Westminster 
as the locality of his print- 
ing-office. There was no 
Scriptorium in the Abbey, 
and the Abbot does not seem 
to have held toward him 
any other relationship than 
that of landlord, leasing to 
him a tenement in the Al- 
monry, just where the 
Guard's Memorial now 
stands. Here Caxton settled 
down and worked for at 
least fifteen years. His first 
book which bears a date is 
' The Dictes and Sayinges 
of the Philosophers, ' finished 
in November, 1477. Upon 
the strength of this date the 
Caxton Ouarcentenary Fes- 
tival was held in 1877 ; but there can be no 
doubt that he printed man}- books of which no 
copies remain, some of which were doubtless 
earlier than the ' Dictes.' 

"Unlike some of the French and Italian 
printers, who ruined themselves by printing 
classical books, Caxton began with small pam- 
phlets, and short pieces of poetry by Uudgate 
and Chaucer. These were soon followed by 
books of greater pretence — historical, poetical 
and religious. The most imposing book fr< m 
Caxton's press was 'The Golden Legend,' a 
thick and large folio volume, full of rude wood- 
cuts, and narrating the lives of all the saints in 
tin English calendar. In translating, editing and 
printing, Caxton spent the remaining years of 



1471 



34 



BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE. 



his life, and at a ripe old age was buried in St. 
Margaret's, Westminster, in the year 1491." 
A tablet upon his tomb bears the following : 

To the memory of 
WlWAM CAXTON, 

who first introduced into Great Britain the 

Art of Printing; 

and who, a.d. 1477 or earlier, 

exercised that Art in the Abbey 

of Westminster, 

This Tablet, in remembrance of 

one to whom the literature of 

this country is so largely 

indebted, was raised 

Anno Domini MDCCCXX., 

by the Roxburghe Club, 

Karl Spencer, K.G., President. 

In thus so extensively quoting CURVV£M - 
from Mr. Blades' last work upon 
the bibliography of printing, it has been the 
intention to yield the results of the latest 
research into Caxtonia, and to acquaint the 
reader with a most conservative and reliable 
view of his career. Few had made as exhaus- 
tive investigations into the subject as the author 
cited, and if the sketch has seemed unneces- 
sarily prolix, it can only be said 
that the minutest incident of a life, 
to the results of which posterity is 
so indebted, has its intrinsic impor- 
tance. 

Whether William de Machlinia 
was a pupil of Caxton's at one 
time, as Mr. Blades seems to infer, 
or was his rival and contemporary, 
as Humphrey distinctly states, it is 
certain that Walton's "Speculum 
Christiani" which was printed by 
de Machlinia, appeared in 1480, 
three years later than the first 
dated Caxton known. This printer 
seems to have had no little reputa- 
tion, but it is upon the eminence 
and subsequent achievements of 
Richard Pynson and Wynkyn de 
Worde in the field of printorial art 
that posterity rests its judgment as 
to the proper successor of the first English 
printer. True followers of their master, enthu- 
siastic and enterprising devotees of their art, 
these erstwhile assistants of Caxton filled his 
place with distinctive ability, gaining fame and 
esteem, surpassing Caxton in beauty of types 
and profusion of illustrative features. Even 



though their types were imported, they deserve 
credit for the increased attractiveness of their 
works. Indeed, it is deemed by Humphrey, in 
his " History of the Invention of Printing," as 
highly probable that the great part, if not all, 
of the type of early English printers, was 
imported from Germany, through the Low 




HEAD-PIECE OF WILLIAM CAXTON. 

Countries, and consequently the engravings 
must have been the work of foreign artists, 
the engraved blocks being imported at second 
hand from the Continent and frequently intro- 
duced into English books without the slightest 
regard to fitness, either in subject or character. 
He further remarks, however, that but little is 



I » ¥ W W 9 




n*,j,.iimuiuimijikLiir,i 



CAXTON S MONOGRAM. F AC-SIMILE FROM HIS WORK. 



known upon the subject of a reliable character. 
So far as the importation of these woodcuts 
is concerned, Mr. Chatto's remarks are worthy 
of attention. This authority (in "A Treatise on 
Wood-Engraving ' ' ) goes back to Caxton, and 
thinks that the cuts in the "Game of Chess" 
and the ' ' Mirror of the World ' ' were both 



35 



BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE. 



designed and engraved in England. Caxton's 
claim to the merit of ' ' illustrating ' ' these two 
books with woodcuts from original designs he 




RICHARD PYXSOX. DIED ABOUT I53O. 

considers indisputable. He further says, in 
contradistinction to what we have noted in 
Humphrey : " It has been supposed that most 
of the woodcuts which appear in books printed 
by Caxton and de Worde were executed abroad, 
on the presumption that there were at that 
period no professed wood-engravers in Eng- 
land." This presumption he weakens if not 
totally destroys by showing the coarseness of 
the engravings, both in Caxton's and de 
Worde 's books, and by stating that anyone who 
could handle a graver might have cut them. 
He also points to the contemporary ability of 
decorators and wood-carvers in England, as 
exhibited in churches, manuscripts and car- 
vings, etc., as having no little contiguous value 
when placed in evidence. 

Reverting to our main theme, from which 
the foregoing is at best only a very interesting 
digression, we find the " Comedies of Terence " 
presented as the basis upon which the fame 
of Richard Pvnson may be allowed to rest. 
This assistant of Caxton's not only transcended 
the successes of his "worshipful master" ^<> 
called by himself ), but what is better, did so 
upon the grounds of greater perfection in com- 
position, presswork and illustration of the 
printed page. He was the King's Printer, an 
appointment doubtless gained by the patronage 
of the Lady Margaret, mother of the reigning 



monarch, and is said to have utilized the pro- 
duct of the graver to greater extent than either 
his master or fellow workman, Wynkyn de 
Worde, both in the text and on borders to the 
page. 

Richard Pvnson was a Xorman by birth, 
possibly trained in the art in one of the cele- 
brated offices at Rouen, whence he ma}' have 
come to the establishment of Caxton. His 
celebrated work (produced in 1487), mentioned 
in the foregoing, is thus spoken of by Hum- 
phrey, who reproduces its title-page: "The 
argument or general plot of the comedy is 
printed in beautiful small type, very regularly 
set up ; the division of syllables, when they 
occasionally occur, being correct, and the length 
of the lines made beautifully even. The large 
type of the second argument is a free Gothic or 
' black letter,' also very regular. The printer's 
device, which appears as a kind of frontispiece 
to the volume, consists of his initials in white on 
a black shield, surmounted by a helmet and 
surrounded by an effective but rather rude 
framework of ornamental bordering." This 
work appeared while Caxton was living, and it 
must have afforded him no little pleasure to see 
such excellent technical execution from one 
whose development as a printer he himself had 
fostered if not actually induced. 

The historian above mentioned pronounces 
upon the product of his presses as superior in 




CURWEN. 

MONOGRAM USED KY RICHARD PYNSON. 

class to those of Wynkyn de Worde, but not in 
fineness of execution. He very significantly 
states, however, that several beautiful books 



36 



BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE. 



were executed by Pynson and some very indif- 
ferent ones by de Worde. 

Wynkyn de Worde, whose name has come 
down to the present as one of the foster-fathers 
of printing, and who is doubtless much better 
known to the general student of typographic 
antiquities than his contemporary, Pynson, has 
the great distinction of issuing the first book 
printed upon paper manufactured in England, 
this material being turned out by John Tate's old 
mill at Hertford, which was established under 
the patronage of Henry VII. His claim to 
eminence rests upon a surer basis than this, 
however, for he produced works which are note- 
worthy advances over those already issued from 
the Westminster press of Caxton. Many are 
highly artistic if we may judge from the 
descriptions and notices given in the writings of 
those who have personally studied the incuna- 
bula. His edition of De Glanville's " De Pro- 
prietatibus Rerum " is cited by Humphrey, 
who furnishes the most interesting and valuable 
collection of reproductions made from the pages 
and titles of the early works of printing up to 
the end of the sixteenth century, as one of the 
most popular of his books, new editions con- 
stant!}- appearing. He furnishes the fac-simile 
of the title-page, which is unique enough for the 
detailed description that the same writer also 
gives: "The title-page is bold and striking, 
consisting of very large Gothic letters cut in 
intaglio in a block of oak and consequently 
remaining white in the printing, while the face 
of the block forms a solid black ground, except- 
ing where the natural grain of the wood shows 
a series of white and irregularly broken lines, 
which modify the blackness of the ground in a 
very pleasing manner. ' ' 

Printing in England, subsequent to Pynson 
and de Worde, passed through many hands, and 
it is scarcely necessary to give more than cur- 
sory mention to those who kept the art alive, 
added to its development, or possibly inculcated 
new features of character into its expanding in- 
dividuality. Julian Notary, an early printer, 
whose office was in Westminster toward the end 
of the fifteenth century; William Faques, prob- 
ably one of the skilled printers of Rouen, and a 
Norman by birth, and who is eminent for his 
Hertford Missal; Peter Treverius, who followed 
the art a little after the time of Pynson and de 
Worde, and whose edition of the ' ' Polychroni- 
con ' ' is said by Humphrey to exhibit what is 
perhaps the first example in the annals of Eng- 
lish printing of a true title-page in the present 
acceptation of the term, are some of the notables 



of their eras. English printing became diffusive 
and English printers increased greatly in num- 
ber ; there is neither need nor advantage in 
classifying the genealogy of the art at this time 
until the period of Richard Grafton, the first 
era-making printer since the days of Caxton. 
At this time printing becomes especially note- 
worthy because of certain ecclesiastical happen- 
ings with which it necessarily became connected. 
Richard Grafton deserves the honor of first 
printing the English Bible, which was issued in 
1537, under the authority of the State. To this 
work he contributed of his capital or skill, and 
his fine folio Bible, issued in 1530-41, and known 




1493 



?JLC 




CURWEN. FROM A DRAWING BY FATHORNE. 

WYNKYN DE WORDE, I493-I534, SECOND PRINTER AT 
WESTMINSTER. 

at the present as Cranmer's Bible (or the Great 
Bible ) , added to a reputation which he has kept 
until the present as one of the most eminent 
contributors to the array of books which now 
constitute our typographic incunabula. Hum- 
phrey calls the title-page of this latter work 
perhaps the noblest work of its kind that the 
designers' and engravers' art had produced up 
to that period. It is said to have been designed 
by Holbein, who is accredited with numerous 
works of the period. Grafton's ' ' Booke of Com- 
mon Praier, " as he designates it in the first part 



37 



BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE. 



of the title, was doubtless the work which made 
him best known; this book was issued in 1549. 

After Grafton little of importance enters the 
scope of the reviewer until the time of John 
Dave. There are a few others, however, whose 
names deserve mention. Briefly noting the 
names of Petit, Herforde, and others more or 



" English Plantin," from the diversity of his 
types, etc., and the character of his works, lent 
an impulse to printing, the records of which 
have endured up to the present time. His 
offices were very large and were located in 
Aldersgate. He was the first printer to make 
use of Saxon characters, and he greatly im- 




rHE COSMOGRAPHICAL GLASSE. 



PRINTED BY JOHN DAYE, 



INITIALS USED 11V DAYE. 



less prominent in the annals of English print- 
ing, we find the name of Wolfe, who was the 
printer of King Henry VIII. toward the end of 
the sixteenth century. He was an enterprising 
and progressive printer. Up to John Daye there 
was nothing especially deserving of mention 
that was accomplished in the- art, but this printer, 
who goes under the pleasant pseudonym of the 



proved the Greek types, as well as the italic. 
The typographical historian, Humphrey, who 
mentions the foregoing and who offers several 
lac-similes from his books, speaks of "The 
Cosmographical (Masse" as one of his finest 
works; it was printed throughout entirely in fine 
italic and embellished with numerous woodcuts. 
The page of initials shown in this connection 



38 



BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE. 



are from Chatto, who has reproduced them from 
this work, and who thinks it likely that Daye 
himself engraved them. The full title of the 
book is "The Cosmographical Glasse, contein- 
yng the Pleasant Principles of Cosmographie, 
Hydrographie or Navigation. Compiled by 
William Cunningham, Doctor in Physicke. 
Excusam Londini in officini Joan. Daii, Anno 
1559- 

" In this Glasse, if 3-011 will beholde 
The starry skie and yearth so wide, 

The seas also, with the windes so colde, 
Yea, and thyselfe all these to guide: 

What this Type mean first learne a right, 
So shall the gayue thy travaill quight." 

Chatto says that of all the works printed in 
England in the reigns of Queen Mary and Queen 

Elizabeth, 
those coming 
from the press 
of John Daye 
generally con- 
tain the most 
finely executed 
woodcuts; and 
even though 
he might not 
have been the 
engraver of 
the woodcuts 
which adorn 
his initials, yet 
itshouldnotbe 
doubted that 
he possessed a 
much better 
taste in such 
matters than 

RICHARD GRAFTON, FIRST PRINTER ot her English 
OF COMMON PRAYER. . . ? ■, • 

printers 01 his 
age. Some of the large ornamental letters are 
much superior to anything of the kind previ- 
ously executed in England. Another work 
issued by Grafton, and one upon which his 
reputation maybe said to rest, is "Fox's Acts 
and Monuments," issued in 1562, and containing 
very fine woodcuts. 

The death of this printer in 1583 afforded the 
epitaphist opportunity to write the following 
punning inscription: 

"Here lyes the Daye that darkness could not blinde, 
When Popish fogges had overcast the sunne ; 

This Daye the cruell nighte did leave behinde, 
To view and shew what blodi actes were donne. 

He set a Fox to wright how martyrs runne 
By death to lyfe. Fox ventured paynes and health 



To give them light. Daye spent in print his weal 
But God with gayne returned his wealth agayn 

And gave to him as he gave to the poore. 
Two wyves he had, partakers of his payne, 





CURWEN. 

RAYNE WOLFE, PAUL'S CHURCHYARD. 
VIII. "S PRINTER. 



KING HENRY 



Fach wyve twelve babes, and each of them one more ; 

Alice was the last increaser of his store, 
Who, mourning, long for being left alone, 

Set up this tombe, herself turned to a stone." 

We find this same tendency to play upon his 
name in the mark which he adopted, his device 




JOHN DAYE, 



-1584. 



being a " cupid waking a sleeping person, and 
pointing to the rising sun, with the motto, 
'Arise, for it is Dave.' " 

H. M. D. 



39 




A DISTINGUISHED KARI,Y PRINTER. 

FAC-SIMILE OF THE GILLESPIE MINIATURE OF BENJAMIN FRANKLIN. 



PIONEER PRINTERS OF AMERICA. 




N reminiscence there is a 
charm which cannot be 
analyzed or defined. In 
a personal sense, when 
applied to reminiscences 
of events in onr own lives, 
we can explain it. It is 
the memory of youth, of 
the freshness and zest of early life, when there 
were no limitations to enthusiasm and hope, 
when castles in Spain were yours for the 
bidding, and the future was almost a present 
possession. Printers, as a class, love remi- 
niscence. Do you not remember, my printer 
readers, the visit of the old-time tramp printer, 
who first enquired for the foreman, and then 
modestly asked to be permitted to ' ' sub ' ' for 
the price of a supper and lodging? And how 
he requested, as a matter of economy, the privi- 
lege of sleeping on the bundles of paper in the 
office in preference to going to the tavern — a 
request always granted without hesitation, for 
the personal honest}- of the old-time wandering 
printer was as sterling as the coin of the realm. 
And after supper, the foreman, the compositors 
and the apprentice, and quite often the editor 
himself, came down town to the office, and 
through the clouds of smoke, listened to the 
wanderer's reminiscences of the early printers; 
of his intimacies with Horace Greeley, George 
D. Prentiss, Wilbur F. Story, and other of the 
journalistic giants of those days; often exagge- 
rated and extravagant narratives, but possessing 
a charm which ever)- one by his close attention 
acknowledged. 

The history of the struggles of the pioneer 
printers of America is rich in interesting rem- 
iniscence. It is impossible to write the briefest 
review of early printing in America without 
recognizing the dominating influence of the 
immortal Franklin. The art of printing cannot 
be said to have made material progress in Frank- 
lin's time; the finer processes of presswork and 
engraving were scarcely known; the implements 
of the craft were clumsy and slow; but Franklin 
and his contemporaries were laying the founda- 
tions deep and strong. As a mere craftsman, 
Franklin was probably no more skilful than his 
contemporaries, but as a writer and journalist, 
he towered above them all. Indeed, it is doubt- 
ful whether there is any name in American let- 
ters, past or present, which has approached his 



fame, or which gives such promise of immor- 
tality. Of " Franklin's Autobiography," James 
Parton, the historian, says: 

"Of this fragment of autobiography I have 
sometimes been impudent enough to say that it 
is the only piece of writing yet produced on the 
continent of America which is likely to be gen- 
erally known two centuries hence." 

This treasure of autobiography holds its charm 
through all generations. It is a book that should 
be placed in the hands of every youth above the 
age of fifteen years. It is too virile, too suggest- 
ive, too frank and outspoken on delicate sub- 
jects, to be placed in the hands of children of 
tender age. The lessons it teaches are wise and 
helpful, and they cannot but prove beneficial to 
manly and ambitious boys. 

Every page of the autobiography is rich in 
reminiscence — graphic in description of the 
Philadelphia of a century and a half ago. As 
you read, you seem to live in those heroic days, 
and you seem to find yourself following in the 
daily paths trod by the young printer. No wonder 
that the personality of Franklin seems to fill all 
Philadelphia to this very day, eclipsing even the 
fame of that other noble citizen, William Penn. 

The first writer to attempt an authentic his- 
tory of printing in America was Isaiah Thomas, 
of Worcester, Massachu setts. * Thomas was a 
progressive printer and an enthusiastic lover of 
his art. In the preface to his history he says it 
took seven years to complete the work. In this 
preface he discusses the difficulties of tracing 
the origin of the printers' art, and in one para- 
graph he speaks of the invention of printing as 
follows : 

"Whatever obscurity may rest upon the 
origin of printing, the invention has happily 
been the means of effectually perpetuating the 
discovery of all other arts and of disseminating 
the principles by which the}* are accomplished. 
It is, therefore, considered the most important 
of them all." 

Mr. Thomas supplements his own fine tribute 
to the art of printing by the following quota- 
tion from a distinguished French writer, M. de 
Condorcet: 

' ' Printing has been applied to so many sub- 
jects; books have so rapidly increased; they 
have been so admirably adapted to every taste; 

* "A History of Printing in America," 2 volumes, by 
Isaiah Thomas, Printer, Worcester, Massachusetts, iSic. 



41 



PIONEER PRINTERS OF AMERICA. 



every degree of information, and every situa- 
tion of life; they afforded so easy, and frequently 
so delightful an instruction; they have opened 
so many doors to truth, which it is impossible 
ever to close again, that there is no longer a 
class or profession of mankind from which the 
light of knowledge can absolutely be excluded. 
Accordingly, though there may still remain a 
multitude of individuals condemned to a forced 
or voluntary ignorance, yet the barrier between 
the enlightened and unenlightened proportion 
of mankind is nearly effaced, and an insensible 
gradation occupies the space which separated 
the two extremes of genius and stupidity." 

It is quite probable that the printing-press 
was in use in Mexico in less than a century 
after the art became known in Europe. In 1540, 
probably, the first book was printed in the City 
of Mexico, by Juan Cromberger, who died in 
1544, and who was perhaps the first printer on 
the American continent. 

Thomas' " History of Printing " and all other 
authorities agree that to Rev. Jesse Glover, of 
Cambridge, Mass., is due the credit of bringing 
the first printing-press to the United States. 
Mr. Glover purchased this press in London, 
together with a quantity of type, but he died on 
shipboard. On its arrival the press was set up 
by Stephen Dave, in 1639. The first job of print- 
ing on this press were copies of the Freeman's 
Oath, the oath of allegiance prescribed for free- 
men by the colonial authorities of Massachu- 
setts. Mr. Thomas says in his history that " the 
fathers of Massachusetts kept a watchful eye on 
the press ; and in neither a religious nor civil 
point of view were they disposed to give it 
much liberty. Both the civil and ecclesiastical 
rulers were fearful that if it was not under 
wholesome restraint contentions and heresies 
would rise among the people. In 1662, the 
Government of Massachusetts appointed li- 
censers of the press, and in 1664 a law passed 
that no printing should be allowed within the 
jurisdiction, except in Cambridge, nor should 
anything be printed there but what the Govern- 
ment permitted through the agency of those 
persons who were empowered for the purpose. 
Offenders against this regulation forfeited their 
ses to the country and were disfranchised of 
the privilege of printing thereafter. After- 
ward, this permission was extended to Boston." 

Stephen Have was succeeded by Samuel 

Green, who had as an apprentice an Indian 

boy. who had been educated at the charity 

'»1 of Cambridge. This Indian hoy was 

called James, and he went by the name of 



James Printer. This boy was apprenticed to 
Green in 1659, an d he rendered valuable aid 
in the composition of a Psalter, in 1709, in the 
Indian and English languages. 

One of the early printers of Boston was 
Thomas Fleet, who owned several negro slaves. 
One of these negroes he taught to set type, and 
one became an artist, who made woodcuts for 
children's books, of which Fleet was the princi- 
pal publisher. Fleet became the publisher of 
the Weekly Rehearsal, the name of which he 
changed to the Boston Evening Post, in 1735. 
In August, 1742, Mr. Fleet being desirous of 
disposing of some surplus property, inserted 
the following advertisement : 

" To be Sold— by the Printer of this Paper, 
the very best negro woman in this town, who 
has had the smallpox and the measles, is as 
heavy as a horse, as brisk as a bird, and will 
work like a beaver. ' ' 

The first American newspaper was published 
at Boston, September 25, 1690. It was named 
Public Occurrences, both foreign and domestic. 
It was a sheet of four pages, each page seven 
inches wide and eleven inches long, two columns 
to the page, and the last page blank. The pros- 
pectus of this pioneer newspaper is something 
unique, and the writer reproduces it for the 
benefit of those who contemplate the issue of 
newspapers designed especially to promote the 
dissemination of truth and the reform of abuses : 

"It is designed that the country shall be 
furnished once a month ( or if any glut of occur- 
rences happen, oftener ) with an account of such 
considerable things as have arrived unto our 
notice. 

"In order hereunto the Publisher will take 
what pains he can to obtain a faithful relation 
of all such things, and will particularly make 
himself beholden to such persons in Boston 
whom he knows to have been for their own use 
the diligent observers of such matters. 

" That which is herein proposed is, First: That 
memorable occurrents of Divine Providence may 
not be neglected or forgotten, as they too often 
are. Secondly: That people everywhere may 
better understand the circumstances of Pub- 
lique Affairs, both abroad and at home, which 
may not only direct their thoughts at all times, but 
at sometimes also toassist their business and nego- 
tiations. Thirdly: That something may la- done 
toward the curing, or at least the changing of the 
spirit of lying which prevails among us, where- 
fore nothing shall be entered but what we have 
reason to believe is true, repairing to the best 



PIONEER PRINTERS OF AMERICA. 



fountains for our information. And when there 
appears any material mistake in anything that 
is collected it shall be corrected in the next. 

"Moreover, the publisher of these Occur- 
rences is willing to engage, that whereas there 
are many false reports, maliciously made 
and spread among us, if any well-minded per- 
sons will be at the pains to trace any such false 
report, so far as to find out and convict the first 
raiser of it, he will in this paper i iinless just 
advice be given to the contrary i expose the name 
of such person as a malicious raiser of a false 
report. It is supposed that none will dislike 
this proposal but such as intend to be guilty of 
so villainous a crime." 

Although this paper contained but a few 
news items of a trifling character, the colonial 
authorities declared 
it was published con- 
trary to law and ' ' con- 
tained reflections of a 
very high nature," 
and they suppressed 
it. The "reflections" 
objected to were in the 
prospectus, wherefore 
it died with the first 
issue. 

Those in authority, 
both in America and 
in England, evidently 
dreaded the influence 
of the early press, and 
they threw many se- 
rious obstacles in the 
path of the pioneer 
printers. During 1663, 
John Gwyn, a printer 
of London, for merelv 
printing a pamphlet of 
which he was not the 
author, and which mildly criticised King 
Charles the Second, was sentenced by Chief 
Justice Hyde " to be hanged by the neck; while 
still alive to be cut down, disemboweled and 
his entrails to be burned before his eyes, head 
cut off and head and quarters to be disposed of 
at the pleasure of the King's Majesty," which 
awful sentence was duly executed. In 1 7 19, John 
Mathews, a London youth, was executed for 
publishing a mildly seditious pamphlet. Al- 
though no printer suffered afterward as John 
Gwyn for sixty years following, it was common 
in England to crop the ears of printers and edi- 
tors and put them in the stocks and pillory. 

Tn 1692, there was a quarrel among the Qua- 




PHOTO BY GUTEKUNST 



EXJAMIX FRAXKLIX 



kers of Philadelphia, in which Wm. Bradford, a 
Philadelphia printer, became involved. For 
printing a pamphlet touching upon the contro- 
versy, Bradford was imprisoned about four 
months before his case came to final trial. In 
examining the type-form from which the pam- 
phlet was printed, one of the jurors pied the 
form, and the prosecution collapsed for want of 
evidence. 

In 1721, James Franklin, brother of Benjamin 
Franklin, was imprisoned a month for certain 
mildly offensive publications in the ^Ye:e Eng- 
land Courant. 

These incidents disclose some of the difficul- 
ties with which the early printers and editors 
had to contend. They also disclose the influ- 
ence of these pioneer printers in breaking down 
the barriers to liberty 
which kings and petty 
rulers had imposed. 
As a general rule these 
early printers were al- 
so courageous patriots, 
and the few news- 
papers in existence 
in America vigorously 
antagonized the pass- 
age of the Stamp Act 
and other oppressive 
measures of the British 
Government, which 
led to the rebellion of 
the Colonies. 

The first newspaper 
issued in America suc- 
ceeding the suppres- 
sion of Public Occur- 
rences in 1690, was the 
Boston News Letter, of 
which John Campbell, 
postmaster of Boston, 
was the publisher, and the first issue was dated 
April 24, 1704. The Boston Gazette was the 
second, and it was first issued December 21, 17 19. 
The American Weekly Mercury was established 
by Andrew Bradford at Philadelphia, December 
22, 1719. The fourth paper to be issued in 
America was the New England Couraut, estab- 
lished by James Franklin, August 21, 1721. 

In 1717, James Franklin returned from Eng- 
land with press and type and set up as a 
printer in Boston. The year following, Ben- 
jamin Franklin, at the age of twelve years, 
signed indentures of apprenticeship, to remain 
in force until his majority. In 1721, James 
Franklin started the New England Courant. 



IATLTKE OWNED BY MRS. GILLESPIE . 



■±3 



PIONEER PRINTERS OF AMERICA. 

Benjamin Franklin, in his autobiography, says : trade, although in his later years he had been 

"I remember his being dissuaded by some of engaged in philosophical studies and had be- 

his friends from the undertaking, as not likely come the first philosopher and statesman of his 

to succeed, one newspaper being, in their judg- age, having an ample fortune to maintain him- 

ment, enough for America." self in comfort, without the necessity of engag- 

Xo more likely an apprentice than Benjamin ing in business or professional work. Two years 

Franklin ever entered a printing-office. Frank- before his death, the printers of Philadelphia 

lin was only fifteen years of age when his held regular meetings in his house to discuss 

brother started the New England Courant, and subjects of interest to the craft, and this at the 

he not only carried the paper to its patrons, but request of the great man whose bodily infirmi- 

he wrote editorials for its columns which stirred ties would not permit his leaving his home. At 

up all Boston. The paper was a free-lance, these meetings Franklin took part in the dis- 

which, among other things, opposed inoculation cussions, and was glad to impart to the humble 

for smallpox, and severely criticised the author- craftsmen the benefit of his sage counsel and 

ities and the clergy. Two years after the paper advice. 

was started, in 1723, Franklin revolted from the Franklin died April 19, 1790, aged eighty-five 

intolerable abuse and mistreatment of his elder years. Long before his death he wrote his own 

brother, and went to New York to pursue his epitaph, as follows: 

vocation. Not finding his opportunity there, he Tl B d * f 

came to Philadelphia and entered the emplov- -„ • • -~ , ,"• n . , 

F . \ - Benjamin Franklin, Printer, 

ment of Thomas Keimer, whose outfit consisted , T M ,, c -, -. , , 

' (Like the cover of an old book, 

of an old and shattered press and one small, Itg contents wom out> 

worn-out font of type. The only other printer And stri of .^ letteri and ^ ldi } 

in Philadelphia at the time was Andrew Brad- Lieg herCj food for wQrms , 

ford. Bradford established the American Yet the work itself shall not be lost, 

Weekly Mercury at Philadelphia, December For ft ^ ^ ^ believed| 

22, 1719, which was the first newspaper in the A ^ Qnce mQre 

colonv. In 1728, Keimer established the Penn- T _ 

, 111 a new 

sylvama Gazette, but being unsuccessful, he And more beautiful edition, 

sold the paper to Franklin, who had several Corrected and amended 

years before left his employ and was engaged in ^> r : t Author 
business for himself. The Gazette was a great 

success under Franklin's management, and from A type-foundry, principally for Gothic or 

the time of its acquisition his fame and fortune German types, was established at Germantown, 

grew. As characteristic of his independence Pa., several years before the revolutionary war 

and courage Franklin relates an incident in his by Christopher Sower, who printed the Bible 

autobiography of his treatment of a person who and other works in the German language. Soon 

insisted on the publication of an offensive com- after the revolutionary war, John Baine, a type- 

munication in his paper. After considering the founder of Edinburgh, came over and estab- 

subject, Franklin addressed a note to the writer: lished at Philadelphia the first regular tvpe- 

"I have perused your piece and find it to foundry in the United States, 

be scurrilous and defamatory. To determine Coggesholl's " Newspaper Record " gives the 

whether I should publish it or not, I went home following chronology of the introduction of the 

in the evening, purchased a twopenny loaf at printing-press in different places in the United 

the baker's, and with water from the pump, States, from 1709 to 1762: 

made my supper. I then wrapped myself up in Xt . w Lomloil< Conn I709 

my greatcoat and laid down on the floor and Annapolis, Md 1726 

slept until morning, when on another loaf and Williamsburg, Va 1729 

mug of water I made my breakfast. From this Charlotte, S. C 1730 

T , . . * . . . Newport, R. I .732 

regimen I feel no inconvenience whatever. woodbridge x j ... 1752 

Finding I ran live in this manner, I have Newbern, x. C 1755 

formed a determination never to prostitute my Portsmouth, x. 11 1756 

press to the purposes of corruption and abuse of savannah, Ga 17 2 

this kind, for the sake of gaining a more com- The first printing-press in the Northwest ter- 

fortable subsistence." ritory was operated by William Maxwell, at 

Franklin never lost interest in the printer's Cincinnati, in 1793. The first printing west of 



PIONEER PRINTERS OF AMERICA. 



the Mississippi was at St. Louis, in 1808, by 
Jacob Hinkle. 

Ringwalt's "Encyclopedia of Printing" 
says there was a printing-press in Kentucky in 
1786, one in Michigan in 1809, and one in Mis- 
sissippi in 1 8 10. Louisiana had a press imme- 
diately after its acquisition by the United States, 
and printing was done in Canada before the 
separation of the American colonies from the 
mother country. Halifax had a press in 1 75 r , 
and Quebec in 1764. 

In his "History of Printing in America," Mr. 
Thomas says that in 1800 there were at least 



the world surpass in skill the American printers 
in all branches of the arts printorial. In the 
making of books and periodicals, and especially 
of newspapers, the American printers lead the 
world and set the pace. Since Franklin's time 
the liberty of the press has been established on 
sure foundations, and the press itself has be- 
come in America the great conservator of liberty 
and law. Instead of being under the censorship 
of arbitrary rulers, as in Franklin's time, the 
press is itself the censor whose power every 
man in authority is compelled to respect, and 
which no thoroughly honest and just man fears. 




£/&sscy/*&y/£$x&/G. C&./WMA 



*PHED SPECIALLY 8Y F. GUTEKUNST. 

GRAVE OF BENJAMIN FRANKLIN AND WIFE, IN CHRIST'S CHURCH BURYING-GROUND, PHILADELPHIA. 



150 newspapers in the United States. Those 
published before 1775 were weekly papers. 
Soon after the close of the revolutionary war, 
daily papers were printed at Philadelphia and 
New York, and in 1810 there were more than 
twenty daily newspapers in the United States. 

The progress and development of the print- 
er's art, since the early struggles of Franklin 
and his contemporaries, is part of the proud 
history of the American Republic. In no coun- 
try of the globe has the art attained a higher 
degree of perfection, and no class of artisans in 



It is a factor of overwhelming importance in the 
diffusion of those influences which make for 
government, social order and reform. 

The student who will dig for facts amidst the 
dusty records of those early days, when men 
made sacrifices for their principles, will be well 
repaid for his trouble; no other domain of his- 
torical research is so fertile with the testimony 
which will support his reverence and affection 
for the art of printing in America, and its pio- 
neer sponsors. Nowhere will he find a monu- 
ment so magnificent and enduring. 

S. R. Davis. 



45 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY. 




ITY of "Brotherly Love." 
surnamed the ' ' Quaker 
City." Philadelphia stands 
as the cynosure of neigh- 
boring eyes, her dignified 
and honored place among 
the urban centres of a 
remarkable nation being 
the result of distinguished achievement in 
times of the nation's peril. For 117 years the 
capital of her state ; long the first city of the 
United States in commercial, industrial and 
social prestige, she has been the recipient of 
honors the most exalted and enduring. Learned 
bodies have centralized their executive sessions 
within her environs; eminent legislators have 
lifted their voices for the national independ- 
ence within her halls; and the very conditions 
upon which the original states upraised them- 
selves from a British yoke were generated and 
set into operation in one of her venerable 
edifices. But she has done more than this. 
She has been a benefactor to that art whose 
diffusion of culture and learning among the 
peoples of the world has kept alive the thought 
and wisdom of the ages past in the product of 
the printing-press. It was in Philadelphia that 
one of the first printing-presses in the colonies 
was set up. as early as 16S5, while to the achieve- 
ments of her most eminent printer, Benjamin 
Franklin, was due the reputation gained for the 
earlv country in the arts and sciences. It was 
in Philadelphia, moreover, that the third news- 
paper established in America was started by 
Andrew Bradford, December 22, 1719, under the 
title of the American Weekly Mercury. 

These facts, all of which need but little 
elaboration to those familiar with the history of 
their country, tend to surround Philadelphia 
with a peculiar attractiveness, and lend to her 
early institutions, many of which are affection- 
ately cherished among her revered memorials, a 
deep and abiding interest. It is to these relics 
that her inhabitants point with pride, and while 
displaying to their guests a hospitality for which 
she has been proverbial, exhibit the institutions 
of their historic city as worthy of the first 
attention. 

The delegates to the United TypotheUe of 
America, in its annual convention, will find in 
the following brief citation of date and incident 
some of the most noteworthv occurrences in 



the history of Philadelphia, not told with a 
view to chronicling the episode, but to illus- 
trating the features of interest which await the 
inspection of the visiting guest. If a slight 
addition be made to their knowledge of our city, 
and their pleasurable recollection of the present 
convention be increased in times to come, the 
object of the essayist will have been f un- 
accomplished. To older Philadelphia then let 
us invite your attention. 

If we were to go back to the aborigines of 
America, and to delineate the habits and con- 
ditions of the primitive residents of a locality 
which now teems with the marks of a com- 
mercial people, we should perhaps find some- 
thing worthy of our research, and if we were to 
scan the records of that era when our fore- 
fathers became the disturbing element of these 
simple peoples, something worthy of a blush; 
for this latter portion of the history, not alone 
of Philadelphia, but of the entire country we 
inhabit, is a synopsis of "occupation, usurpa- 
tion, exile and extinction." That this has not 
been true of Philadelphia since the memorable 




THE PEN.V TREATY STONE. MARKING THE TRADI- 
TIONAL LOCALITY OF TENNS TREATY 
WITH THE INDIANS. 



47 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY. 



treaty of William Penn was made with the Indian 
occupants of the land is no small tribute to her 
early settlers, provided we accept it as true. 

The idea conveyed by William Penn in the 
graphic picture which he drew of the times, and 
which has been preserved in Watson's ' ' Annals, ' ' 
Vol. II, will enable us to better understand the 
nature of the Pennsylvania Indian tribes, the 
personnel of whom he thus describes: 

" But in liberality they excel; nothing is too 
good for their friend; give them a fine gun, 
coat or other thing, it ma}* pass twenty hands 
before it sticks; light of heart, strong affections, 
but soon spent. The most merry creatures that 
live, feast and dance 
perpetually ; they 
never have much, or 
want much ; wealth 
circulateth like the 
blood ; all parts par- 
take, and though 
shall want what an- 
other have, yet exact 
observers of property. 
They care for little 
because they want 
but little, and the 
reason is, a little con- 
tents them. In this 
they are sufficiently 
revenged on us : if 
they are ignorant of 
our pleasures, they 
are also free from our 
pains. We sweat and 
toil to live ; their 
pleasure feeds them, 
I mean their hunt- 
ing, fishing and fowl- 
ing; and their table is 
spread everywhere." 

It was with these people that William Penn 
had himself to do, and with them he arranged 
for mutual peace, protection and brotherhood. 

Prior, however, to the founder of Pennsyl- 
vania, those indefatigable explorers, the early 
Dutch, had visited the vicinity of Philadelphia 
as early as i6rr, and it is presumed that one of 
them, Captain Hendrikson, discovered the em- 
bouchere of the Schuylkill. A few years later, 
in 1623, a vessel under the command of Captain 
Meyand Adriaen Jorris — or. Jorrison — Tienpoint, 
chartered for the West India Company, was sent 
to Niew Amsterdam | New York i, leaving some 
passengers, and entering the Delaware at the 
point called Prince Hendrick's River, sailed up 




ENGRAVED BY JOHN SARTAII 
FROM THE ORIGINAL Bl 



WILLIAM PENN. 



to Gloucester Point, or near that locality, 
where they erected a log fort called Fort Nassau. 
This primitive settlement, abandoned in 1624, 
was named by the Indians, Arwanus, being 
known to the early Philadelphians at a later 
date as Pine Point. Several other attempts 
were made by the people of this tenacious na- 
tion to effect permanent settlements in the 
locality, one of which came to great grief 
through the injudicious conduct of the com- 
mandant, being exterminated by the friends of 
a chief whose death he had caused for an un- 
witting theft. In 1633, however, Wouter van 
Twiller sent Arent Corssen to Fort Nassau, 
which he occupied, 
effecting a purchase 
of "the Schuylkill 
and adjoining lands 
for certain cargoes. ' ' 
Here a fort was 
erected, named Fort 
Beversrede, which 
with its environs is 
supposed to have oc- 
cupied that portion 
of Philadelphia now 
known as Passyunk. 
In the Philadel- 
phia Library is a 
pamphlet, said to be 
the only one in the 
United States, pur- 
porting to be a de- 
scription o f Ne w 
Albion in North Vir- 
ginia, and written 
by ' ' The Prince of 
New Albion;" it was 
printed in 1648. This 
settlement was al- 
leged to have been 
established on the Delaware or in its vicinity by 
members of the ' ' Order of the Albion Knights 
of the Conversion of the Tw T enty-three Kings," 
but is regarded as apocryphal. There are some 
reasons, however, for believing the credibility 
of the document. 

While the Dutch were making efforts to 
effect colonial settlements in America, the atten- 
tion of other nations was being attracted to the 
same promising locality, and the formation of a 
Swedish West India Company, with a grant 
from King Gustavus Adolphus, resulted in an 
expedition, sent in 1638, to Jamestown, whence 
it sailed up the Delaware and built Fort Chris- 
tina, near Wilmington. These Swedish settlers, 



PHOTO BY GUTEKUNST. 



|8 




THE PENN COTTAGE (LETITIA HOUSE), FORMERLY OX LETITIA STREET. FIRST BRICK BUILDING, 16S2-3. 

OLDEST BUILDING STANDING IN THE STATE. JUST PAST THE ENTRANCE OF 

THE LANSDOWNE DRIVE. WEST FAIRMOUNT PARK. 




OLD SWEDES' CHURCH (GLORIA DEl), SWANSON STREET, BELOW CHRISTIAN. BUILT IN IJOO, SUCCEEDING 

A LOG STRUCTURE DATING FROM 1677. 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY, 



under the support of a man-of-war and tender, 
succeeded in effecting their purpose, and de- 
spite the opposition of the Dutch, who bitterly 
antagonized their efforts, enlarged their terri- 
tory by purchase from the Indians, even en- 
croaching upon that occupied by the Dutch. 
Not only so, but Swedish citizens were given 
grants by the Government, one made in 1653 
giving to Lieutenant Swen Schute a tract of 
land on both sides of the Schuylkill and a part 
of the site afterward comprised in the town- 
ships of Passyunk and Kingsessing. 

Ultimately, the encroachments of the Swedes 
aroused the open opposition of the Dutch and 
hostilities resulted in the dispossession of the 
former from the latter 's territory ; they effected 
other settlements, however, in the same locality. 




THE INDEPENDENCE BELL. 



It seems strange, in view of the latter develop- 
ments and ownership of Philadelphia, to find a 
grant of land given by the Dutch Governor and 
ratified by William Penn, which occurred in the 
locality of Passyunk. Another grant was also 
made of that land afterward known as the 
Wicacoa of the Swedes, and which extended to 
South Street as we now know it. Here Old 
Swedes' Church {Gloria Dei) was afterward 
built. 

The conquest of the- English, commencing in 
1664, soon placed the territory in their hands, 
and the treaty of February 19, 1674, effectually 
terminated the influence of the Dutch in these 
parts. Settlement was encouraged in the Dela- 
ware region, and on June 21, 1681, the proclama- 
tion was issued : 

" To ye severall Justices of ye Peace, Magis- 
trates ami other Officers inhabiting within ye 
bounds and limits above mentioned, now called 



Pennsylvania," wmerein the grant to William 
Penn of a tract of land in America, bounded 
east by the Delaware River from twelve miles 
northward of the town of Newcastle, was an- 
nounced, and the appointment of William Mark- 
ham as Deputy Governor was confirmed, to 
whom the justices, etc., were in future to render 
obedience. The subsequent means taken by 
Penn to add to his possessions, and the names of 
those who sailed with him in the ship Welcome, 
are matters of common history. 

Prior to the departure of the Welcome for the 
New World, and in accordance with instruction 
given by William Penn, Lieutenant-Governor 
Markham caused the survey of the inchoate city 
of Philadelphia to be taken, the title of the tract 
of 10,000 acres being supposedly copied from the 
Philadelphia in Lydia, Asia Minor, where one 
of the seven earliest churches was established, 
and the name of which signified " Brotherly 
Ivove." The streets of the new city were as 
different in designation as in appearance from 
what they now are, and hence we find our pres- 
ent Vine Street known as Valley Street, because 
of a ravine there located, while Songhurst Street, 
named after John Songhurst, is now known as 
Race Street. In like manner, Arch Street was 
originally termed Holme Street, after Thomas 
Holme, and subsequently Mulberry Street; the 
Market Street of to-day was High Street; Chest- 
nut Street, originally spelled without the "t," 
our forefathers called Wynne Street; and Wal- 
nut Street was known as Pool Street. Spruce 
Street was Dock Street, and Sixth Street was 
Sumach Street. The boundaries of the city at 
this time were Vine Street on the north, and 
South Street on the south. The city thus com- 
prised two miles from west to east, and one mile 
from north to south. The residences were prin- 
cipally upon Front Street, and the business 
localities likewise, and, in the interesting illus- 
tration which appears in connection with the 
present sketch showing Philadelphia as it was 
200 years ago, this fact will be amply evidenced. 

The first Provisional Council met in Phila- 
delphia in 1683, and the freemen who were 
invited to attend an Assembly for the purpose 
of electing members to the Council, met two 
days later, in Old Swedes' Church it is presumed. 
Penn's Cottage in Letitia Street, a view of which 
is given, furnished the place of meeting for later 
Councils. 

In a very interesting pamphlet, entitled "A 
Further Account of the Province of Pennsylva- 
nia and its Improvements, for the satisfaction of 
those who are Adventurers, or inclined to be 



50 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY. 



so," and which is said to be extremely rare, 
William Perm himself thus speaks of the Phila- 
delphia of the time : 

" Philadelphia, and our intended metropolis, 
as I formerly wrote, is two miles long and a 
mile broad, and at each end of it lies that mile 
upon a navigable river : the situation is high 
and dry, and yet replenished with running 
streams. Besides the High Street, that runs in 
the middle, from river to river, and is ioo feet 
broad, it has eight streets more that run the 
same across, and the least of which is fifty feet 
in breadth. And besides Broad Street, which 
crosseth the town in the 
middle, and is also ioo 
feet wide, there are 
twenty streets more that 
run the same across, and 
are also fifty feet broad. 
The names of these 
streets are mostly taken 
from the things that 
spontaneously grow in 
the country." 

About this period 
appeared a pamphlet 
printed by one Thomas 
Budd,and not long after- 
ward William Bradford, 
the first printer in the 
city, executed an alma- 
nac alleged to have been 
the first printed book of 
the province. The His- 
torical Society of Penn- 
sylvania owns a copy of 
this rare remain. 

Shortly subsequent, 
William Bradford and 
William Rittenhauseu, 
in company with other 
Philadelphians, erected 

the first paper-mill built in America, near Ger- 
mantown, and it is mentioned as a matter of 
interest by a recent historian that Rittenhauseu 
and Bradford "made proposals at this time to 
print the Holy Bible in English, which were, so 
far as is known, the first of such proposals made 
in America, their date being the first day of the 
first month, 1687-9, at this city, and were made 
on the Half- Year's Meeting of the Friends, held 
at Burlington, the third day of the first month, 
[687 s. A copy of the unique proposal is now 
in the Philadelphia Library." 

While the infant province of Philadelphia 
was progressing toward prosperity and influences 




ORIGINAL BUILDING, BANK OF NORTH AMERICA. 
OLDEST HANK IN AMERICA. 



were being germinated which would ultimately 
result in a great city, the founder of Pennsyl- 
vania w T as becoming an object of disfavor with 
the English Government, and was finally dis- 
possessed of his province, Governor Benjamin 
Fletcher of New York being commissioned to 
assume charge under the title of " Captain, 
General, and Governor-in-Chief of the Province 
of New York, the Province of Pennsylvania, 
and the Province of Newcastle." This docu- 
ment was read in the market-place at Phila- 
delphia, April 26, 1693, and gave no little dis- 
satisfaction to Penn's adherents. Later in the 
same year, however, the 
accusation of disaffec- 
tion brought against 
William Penn was dis- 
missed, and he was rein- 
stated in the favor of the 
king; he was officially 
restored to his rights as 
Proprietary of the Prov- 
ince, August, 1694. 

In 1 71 2, William Penn 
died at his English 
residence in Bucking- 
hamshire, of a stroke 
of apoplexy, now having 
become so embarrassed 
in a financial sense as 
to have contemplated 
transferring his interest 
in Pennsylvania to the 
crown for £ 12, 000, which 
was prevented by his 
decease. Says a recent 
writer : ' ' Eulogies of 
William Penn have been 
written con a > no it and 
it is needless for us to 
add another to the list. 
But it is an unquestion- 
able fact that the personnel of this remarkable 
man, as well as his extraordinary intellect, his 
purity of character, and vast administrative 
power, with his formative characteristics, being 
built upon by his successors, have rendered 
Pennsylvania the Keystone State of the Union, 
and made Philadelphia the worthy cradle of 
American liberty. Of him it may be worthily 
said, ' If you seek his monument, look around 
you' (Si monumentum quarts circumspice)." 
Passing by many more or less important civic 
happenings, we find the early beginnings of the 
American Press appearing to view in the estab- 
lishment of The American Weekly Mercury, 



52 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY. 




EXTERIOR OF CARPENTERS HALL, BUILT IN I77O. 

SOUTH SIDE OF CHESTNUT, BETWEEN 

THIRD AND FOURTH STS. 

the first newspaper printed in the city, and 
which issued from the office of Andrew Brad- 
ford and was sold by him and John Copson. A 
runaway negro slave constituted the subject for 
its first advertisement. 

During the summer of 1732 an edifice was 
begun which stands to-day as the most distin- 
guished in the United States, from whose tower 
the Independence Bell heralded the tidings of 
liberty. The State House, as then known, stood 
in the centre of a lot, described as being at the 
southeast corner of Sixth and Chestnut Streets, 
with a lot on Fifth; the room in its west end 
was used as the Chamber of Legislature, and is 
now known as Independence Hall. Several 
years later, the buildings for the use of the 
County and the City Courts were erected at the 
southwest corner of Sixth and Chestnut Streets. 
An interesting item of this period is the inven- 
tion of the quadrant, by Thomas Godfrey, a 
Philadelphia!). 

Troubles with England began; public meet- 
ings of the citizens wire- held protesting against 
a taxation which was considered unjust; and on 
June [8, 1771. it was decided to convene a Con- 
tinental Congress, the conference being held at 

Carpenters' Hall, September jth. In this now 
historical building, the associations of which are 
among the most vivid in Philadelphia's annals, 

a memorable- decision was reached by delegates 



from eleven provinces — a decision which was to 
precipitate a war with England and result in the 
enfranchisement of the colonies. The senti- 
ments of the people were set forth, and it was 
declared that " no obedience was due from the 
Provinces to the late cruel, unjust and oppres- 
sive acts of the British Parliament, but that they 
should be rejected as the attempts of a wicked 
administration . ' ' 

The position of Philadelphia in the Revolu- 
tion which followed closely upon this action is 
well known. Through the influence of Thomas 
Paine's writings the people had been mentally 
prepared for an assertion of independence, and 
the battles of Lexington and Bunker Hill 
strained the feeling of the colonies to intense 
hostility ; the Declaration of Independence 
formed the climax to the conditions. This 
document, in the preparation of which Benja- 
min Franklin, of Philadelphia, was more than 
prominent, needs no description, while the sites 
of the Independence Bell and Independence 
Hall will tell the visitor the location of the 
shrine of American liberty. 

The first American flag was made in Phila- 
delphia, by Mrs. Elizabeth Ross, who resided 
on Arch Street, near Second ; this flag was 
accepted by Congress, and for years kindred 
supplies w T ere furnished the Government by this 
lady. 

The possession of Philadelphia by the British 




INTERIOR 01 C XKI'l.NIl RS BALL. PIRST CONTINEN- 
TAL CONGRESS ASSEMBLED SEPTEMBER 5, >774- 



5 1 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY. 



has been well depicted in American history, and 
that incident known as the Meschianza also 
mentioned in a charming- book recently pub- 
lished by the Lippincotts. The restoration of 
peace terminated an eventful period, and may 
be said to have begun one equally so. 

Philadelphia was incorporated in 1789, and in 
1790 it was voted to remove the seat of govern- 
ment to the District of Columbia, Philadelphia 
nevertheless to retain it until ten years had 
passed. 

This period was full of local incident with 
a national bearing. The State House at the 
corner of Fifth and Chestnut Streets was 
begun ; the Bank of North America adopted 
the money practice of dollars and cents ; John 
Fitch successfully applied steam in propelling 
the first boat ever driven in this manner in 
American waters ; and the First National Bank 
was proposed. The passage of an act establish- 
ing the United States Mint resulted in the build- 
ing antedating that now bearing the name in 
our city. 

The history of Philadelphia from the early 
days thus briefly summarized is one of growth. ' 
The War of 181 2; the consolidation of the city; 
and the War of the Rebellion afforded her citi- 
zens opportunity to display their public-spirit- 
edness, and in no instance can it be said that 
she failed to do her duty. 

To-day, with over a million inhabitants, 
essentially a city of homes, and yet equalled 
in industrial and commercial importance by 
only two cities in the country, Philadelphia 
stands as the striking evidence of gradual 
result — a result, moreover, born of her own 
inherent healthfulness and evolutionary force. 
No other city in the world has so many single 
residences; none in the United States possesses 
equal environing scenic beauties. Two thou- 
sand miles of streets stand on the city plan as 
the present and future sites of homes ; while 
the 2700 acres and more comprised in the pic- 
turesque beauties of Fairmount Park constitute 
a resort surpassing in its varied attractions any 
park in the world. 

In its ocean commerce it still sways $100,- 
000,000 in exports and imports ; in its indus- 
tries it contributes an annual product from its 
workshops valued at $600,000,000. For the 
benefit of those who desire to remember the 
points of historic interest as well as those of 
natural beauty to be found within the environs 
of Philadelphia, the article herewith offered 
has been prepared and the illustrations accom- 
panying it presented. 



The representative institutions of Philadel- 
phia, of historical or more modern interest, 
which are shown in this connection, demand 
some brief descriptive data. 

INSTITUTIONS OF PHILADELPHIA. 

The opening view, after the famous painting 
by Benjamin West, depicts an episode in the 
early founding of Philadelphia which will ever 
be environed with grateful memories to the de- 
scendants of her early settlers. To those who 
may be interested in visiting a locality which 
teems with historic incident, the traditional 
locality of Penn's Treaty with the Indians is 
still pointed out to the visitor. The treaty 




INDEPENDENCE HALL. BUILT IN 1729-1735. 
CHESTNUT STREET, BETWEEN FIFTH AND SIXTH STS. 

elm, beneath w T hose overspreading branches the 
agreement was reached which ensured to the 
pioneers their peace and safety, no longer re- 
mains; but on Beach Street, north of Hanover, 
stands a small stone monument, built in 1827, to 
mark the site of the tree which had supposedly 
stood from 1682 until 1S10. A public square 
surrounds this spot. Historical evidence may 
be wanting to corroborate this treaty of the 
founder of Pennsylvania with the Indian occu- 
pants of the land, but the burden of probability 
rests upon the side of its truthfulness, and the 
inscription "unbroken faith" upon the stone 
will afford man}- kindly thoughts of primitive 
times to generations yet unborn. 



55 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY, 



The Philadelphia of 200 years ago, as pictured 
in the old pictorial curiosity reproduced in our 
pages, will attract from its own intrinsic interest 
rather than from the artistic nature of the por- 
traiture here given. The original painting, 
which now occupies a side of the wall at the 
entrance of the Philadelphia Library, was done 
by Peter Cooper. In a letter from Hon. George 
M. Dallas, who was the Minister to England at 
the time, and who wrote under the date of Janu- 



" The principal buildings of the town at that 
day are pointed out, and twenty-five good old 
Philadelphia householders are named in the 
margin. 

"Although worthless in any sense but that 
connected with Auld Lang Syne, it presents, at 
half a glance, so striking a contrast to the Con- 
solidated City of 1857 that it has its interest for a 
corner of the Philadelphia Library. ' ' Mr. Dal- 
las subsequently states, in a foot-note : "It 




PHOTO BY GUTEKUNST. 



AND PUBLIC BUILDINGS. I'HILADI 



ary 12. 1S57, the following facts are given : 
" I will send for the Philadelphia Library, an 
antique daub, painted, as is believed lure-, in 
1720, purporting to be- the southeast prospect 
of the city of Philadelphia, by Peter Cooper, 
painter. It is Oil torn canvas, some eight feet 
long by one and one-half feet wide. One of 

the members of Parliament, in Looking over the 
rubbish of a city curiosity shop, picked it up 

and bought it for me. 



appears by the minutes of the Common Council, 
May 27, 1717, that Peter Cooper, painter, was 
admitted a freeman of Philadelphia on the 
payment of 5s. 6d." 

The foregoing, together with the reproduc- 
tion from another old painting of Market Street 
market, will enable some adequate idea of first 
beginnings to be had, and are worthy of preser- 
vation as antiquities. 

In the old district of South wark, which was 



56 







UNIVERSITY OF PENNSYLVANIA, WOODLAND AVENUE, BETWEEN THIRTY-FOURTH AND THIRTY-SEVENTH STREETS. 
FOUNDED IN 1753, THROUGH THE INFLUENCE OF DR. BENJAMIN FRANKLIN. 



■nisi At M 

w^Sfm 1 1 ill 


nil 

1 f -I a 1 


■B^i g J .j „ ' 


1, I ^^^^Jl 


okjm J 


-V j '**B,.y ***^ 





GIRARD COLLEGE, NINETEENTH STREET AND GIRAR1) AVENUE. FOUNDED IN I^O, BV STEPHEN GIRARD. 




UNITED STATES MINT, ERECTED 1829-33 AS SUCCESSOR TO ORIGINAL BUILDING, IN I792, 
ON SEVENTH STREET ABOVE MARKET. — FIRST MINT IN UNITED STATES. 



designated in our historic summary as the 
Wicacoaof the Swedish settlers of Philadelphia, 
on Swanson Street below Christian, stands an 
edifice of rare age. The Old Swedes' Church, 
an excellent view of which is given, together 
with the abode of its dead, has been standing 
since 1700, when it was erected on the original 
site of a building, used as church or fort, dating 
from 1677. The stones in its quaint old grave- 
yard bear dates from those early times. The 
grave of the ornithologist, Alexander Wilson, is 
located there. 

A building which demands the reverence of 
the visitor from all points of the country, the 
first brick building in Philadelphia, the oldest in 
the state, and the state-house of the province 
in colonial days, is to be found after entering 
the Lansdowne drive- at the entrance of the 
\\\st Park over the Girard Avenue bridge-. This 
building is the lYnn House, or Lctitia Cottage, 
as it is called, which has been removed from its 
old site on betitia Street, where it stood since 
[682. Our allusions to the memorable councils 

convened within its walls, made in the former 
part of the review, will give our illustration no 



inconsiderable value, made as it was from a rare 
old print. In connection with the authentic 
portrait of William Penn, from a photograph of 
the engraving made by the eminent John Sartain, 
after the original by H. Inm'an, this section of 
our subject is complete. 

Carpenters' Hall, an edifice of the most in- 
tense historical import, and of the exterior and 
interior of which fine view T s are given, stands on 
Chestnut Street between Third and Fourth, in 
an open court. Here, on Septembers, 1774, the 
first Continental Congress assembled to take 
measures for accomplishing their independence. 
Upon its venerable walls an inscription awakes 
the patriotic mind to a recognition of the deeds 
of Henry, Hancock and Adams. It has seen the 
first Provincial Assembly with their delibera- 
tions, the conferences of the British, and was 
the location of the first United States Rank. 

Carpenters' Hall was erected in 1770 by the 
Society of Carpenters, who designed it for their 
private uses. Then occupying the centralized 
point of the city, it was selected for the public 
purposes designated, and subsequently fell into 
decay until refitted and restored to its colonial 



58 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY, 



character by the Company of Carpenters, to 
whose care its present preservation is due. 
Relics hang upon the walls, and the visitor is 
invited to it as one of the most precious memen- 
tos of revolutionary days. 

Independence Hall is a locality which needs 
but little notice; no one that is familiar with the 
history of his country can disregard its claims. 
It is the most famous of all famous American 
buildings, and will ever be associated with the 
immortal July 4, 1776, when "Old Liberty " pro- 
claimed its tidings throughout a future land of 
freemen. The Second Continental Congress was 
convened in the east room on the first floor of 
this structure; the Declaration of Independence 
was adopted in the same apartment ; and still 
later (in 1787), the Constitution of the United 
States was drafted and adopted by the Constitu- 
tional Convention within the walls of the same 
hall. The entire building is a treasure-trove 
for seekers after revolutionary Americana, its 
rooms abounding in articles of historic interest, 
portraits, etc. The old bell bearing its prophecy 
of independence, is a cherished relic in a museum 
rich in such associations. 

To Philadelphia belongs the honor of the first 
edifice erected by authority of the Federal Gov- 
ernment, which was used for the United States 



Mint. The original building, standing on Sev- 
enth above Market Street, was built in 1792, 
and was superseded by the present building, on 
Chestnut Street near Broad, a view of which is 
given. The latter was finished in 1833, and it 
is interesting to note that the coinage since the 
establishment of the institution a century ago, 
has been $1,056,337,771.05. It is open to visitors, 
and its museum of numismatical relics renders 
it a point of much interest among the attractions 
of our city. 

Of the historic educational institutions of 
Philadelphia, the University of Pennsylvania is 
a noble illustration, its charter dating back to 
1753, when it was called the Academy and Chari- 
table School of the Province of Pennsylvania. 
Benjamin Franklin, always progressive in edu- 
cational matters, espoused its cause and was one 
of the originators of the movement. Two years 
after its inauguration, it was known as The Col- 
lege and Academy of Philadelphia, being incor- 
porated in 1779, however, as the University of 
Pennsylvania; the college and university were 
united in 1781. It has the oldest medical school 
in America, opened by Dr. William Shippen in 
1764; has magnificent collections in archaeology 
and glyptology, and is the most imposing and 
extensive institution of its kind in the state. 




VIEW OF THE SUNKEN GARDENS, HORTICULTURAL HALL, FAIRMOUNT PARK. 



59 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY. 



Vying with the foregoing, although upon en- 
tirely different bases, is the splendidly equipped 
philanthropy of Stephen Girard, the buildings 
of which occupy a space of forty-one acres, 
from Nineteenth Street and Girard Avenue to 
Twenty-fifth Street. The main building, which 
we illustrate, is one of the purest examples of 
Corinthian architecture extant, and is more 
visited by strangers than probably any other 
locality of the city, excepting, perhaps, it be 
that Mecca of American pilgrims, Independ- 
ence Hall. Founded in 1830, by Stephen 
Girard, with a fund of $2,000,000 as its endow- 
ment, it gives shelter, maintenance and educa- 
tion to over 1500 children, and is constantly 
growing. 

One of the most unsurpassed examples of 
modern education is the Drexel Institute of 
Art, Science and Industry, located at Thirty- 
second and Chestnut 
Streets. This is one 
of the most recent 
of Philadelphia's in- 
stitutions, and is due 
to the generosity of 
the late Anthony J. 
Drexel, wdiose dona- 
tion of $2,000,000 
has resulted in the 
present magnificent 
building and equip- 
ment for training 
young men and 
women in the arts 
and industries. Its 
collections of manu- 
scripts, its museums, 
its library, its mechanical and art departments, 
and the various rooms given up to domestic 
economy, arts and crafts, are rarely complete, 
and it is one of the most distinguished of its 
class. The architecture is of classic Renaissance, 
a pure type of that period. 

In LS05, an association was incorporated 
under the title of the Pennsylvania Academy 
of the- Fine Arts, which for fifty years held exhi- 
bitions in a building on Chestnut Street above 
Tenth. The present specimen of Venetian 
architecture, at broad and Cherry Streets, was 
erected in [876, or at least completed in that 
year. It is a noble building, has a line gallery 
of pictures and sculptures, and comprises a 
splendid school for professional artists, giving 
instructions in art to those who may desire to 
fit themselves for practical avocations, such as 

lithography, decorating and kindred useful arts. 




PHILADELPHIA ACADEMY OF FINE ARTS, 
BROAD AND CHERRY STREETS. BUILT 1876. 



Its collections afford rare opportunities for such 
study. 

Philadelphia is rich in the evidences which 
the distinguished citizen, Benjamin Franklin, 
left behind to mark his genius. The American 
Philosophical Society, in its historical building 
on Fifth Street, adjacent to Independence Hall, 
is a fruit of the Junto Club, which Dr. Franklin 
was influential in starting. He was president of 
the bod}* and held an honored place in this, the 
first institution of its kind in America. Indeed, 
it is said that Europe possesses very few societies 
of older lineage. AVe have also the Franklin 
Institute, one of the most important of American 
institutions for promoting the mechanic arts; 
the Pennsylvania Hospital, for which Franklin 
secured the charter in 1751; the Philadelphia 
Library Company, founded in 1731 by Franklin 
and his friends; while among the revered mem- 
orials of our city the 
grave of Benjamin 
Franklin and his wife 
in the corner of 
Christ's Churchyard 
affords a mournful 
interest. 

To speak of the 
many kindred build- 
ings, and enumerate 
their attractions and 
interest, would re- 
quire much more 
space than is at our 
disposal in this con- 
nection. Besides, it 
is not the intention to 
do more than bring 
the most prominent to the reader's attention. 
The public buildings, the various societies of 
learned character, the private and other institu- 
tions, are adequately described in any of the 
excellent guide-books of Philadelphia. 



AMONG the most noteworthy institutions of 
our historic city are her magnificent railroad 
terminals, of which it has been said that no 
other city in the world contains their equals. 
Perfectly adapted to the uses of an enormous 
volume of passenger transportation, these new 
structures are architectural ornaments even 
when compared with the handsomest buildings 
of Philadelphia. Every department of con- 
struction reflects the ability and experience 
which practical railroading could alone confer 
upon those responsible. 



60 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY. 



The Pennsylvania Railroad, with its spacious 
station and corporate building at Broad and 
Mark S :-. first commands our attention, 
the visiting Typotheta; delegates being most 
familiar with the extensive character and un- 
surpassed service of this great railroad. The 
new building, said to be the largest in the 
country owned and solely occupied by any one 
corporation, is of modern Gothic, and presents 
a most imposing appearance. With a frontage 
of 306 feet on Broad Street, from Filbert to 
Mark - Its, and a depth of 225 feet west on 
Market Street, it contains ample room for all 
the various business departments of the com- 
pany, as well as affording very superior com- 
forts to the travelling public. Within the ten 
stories, to which the building has been erected, 
there are 1S0 rooms, ranging from 250 square feet 
to 4000 square feet in size; these are for office 
purposes. An annex on Filbert Street, five 
stories high, is devoted to the ticket-receivers, 
brakemen, conductors and trainmaster. The 
train-shed, one of the greatest spans ever built 
for the purpose, is over 5S9 feet long, and the 
arches are more than 300 feet wide at the base. 
Two hun- 
dred trains 
can be ac- 
commo d a- 
ted each 
way daily. 
Some idea 
of the mag- 
nitude of 
the struc- 
ture can be 
obtained 
from ob- 

Ing its known aggi gated - 5;. 000, 000. 

The men under whose direction the Pennsyl- 
vania Railroad has pushed its way to the front 
of the great systems of the world, and who con- 
trol and regulate its affairs, are pictured upon 
the opp' ge B. Roberts, the 

president -•-known e xe c u l 

in his line that railro.: ever evolved. 

and the prosperity which has attended the ener- 
I well-directed efforts of himself and 
compete: rloquent I 

monial to capacity and careful management 
that might be educed. 

In the first vice-president, Frank Th 
the - an able - 

equipped in a" "rich 

go to make up a managerial 
pleasant personnel and a broad, practical knowl- 



edge of requirements, it is to his efficient super- 
vision that much of the present smoothly-run- 
ning system is due. 

George W. Boyd, the assistant general pas- 
senger agent, has been identified with the Penn- 
ama Railroad for a long time, and his de- 
partment is organized upon bases of solidity 
and experience. Mr. Boyd is known as one of 
the most competent officers which ever held 
prominent place in the pas- -ice of a 

great railroad. 

The new terminal station of the Philadelphia 
.x. Reading Railroad is unique in embodying a 
style never before utilized in railroad archi- 
tecture. It is of a composite Renaissance, with a 




NEW DEPOT OF THE PEXXSVLVAXIA RAILROAD IX PHILADELPHIA. 



frontage of 265 feet and a depth of 107 feet on 
Twelfth Street. The building, which presents 
an impressive appearance with its eight stories 
and splendid facade, is of New England granite, 
and of pink-tinted brick and white terra-cotta. 
The offices and waiting-rooms are decorated 
in a style the most sumptuous and elaborate. 
All manner of convenier - mbodied in the 

structure, and the upper portion 1 to 

offic -.-ral departments of the company. 

The kl view with much delight the 

delicacy of the int 1 will be 

impressed with the magnitude of the train-shed 
as well. This latter has a clear span of 266 
feet, the distance from the level of the thirteen 
tracks within to the top of the arc*. 

Ninety thousand square feet of glass are 
utilized in this span. 



62 




GEORGE W. ROBERTS, PRESIDENT P. R. R. FRANK THOMSON, FIRST VICE-PRESIDENT P. R. 

GEO. "U". BOYD, ASSISTANT GENERAL PASSENGER AGENT P. R. R. 



ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY. 



The passenger station of the Baltimore & 
Ohio Railroad will also receive attention as 
offering convenient waiting-rooms, and as em- 
bodying the offices of the Philadelphia Division. 

The freight terminals of the city are excep- 
tional. The Pennsylvania Railroad, always 
advancing in proportion with demand, has pro- 
vided over thirty stations where freight is 
shipped and handled, its aggregate tonnage for 
one year being much over 10,000,000. 

The Philadelphia & Reading Railroad has in 
the neighborhood of twenty-five freight stations 
in various parts of the city. 



Almost the only building among those illus- 
trated, which has not received attention in the 
text, is the largest structure in the city, the City 
Hall, opposite the splendid depot of the Penn- 




NEW TERMINAL OF THE PHILADELPHIA AND READING RAILROAD. 



sylvania Railroad, and which is more generally 
designated the Public Buildings. This vast 
undertaking, which has already consumed a 
number of years and is not yet completed, and 
has cost thus far upwards of $15,000,000, con- 
tains the city and county departments. 

The building teems with allegorical repre- 
sentation, and its sculptures are very profuse; 
they adorn the exteriors, the corridors and the 
inner court, and depict the emblems of justice, 
of peace, of science, art and nature. In the 
plaza is a magnificent bronze figure of William 
Penn, awaiting its position upon the top of the 
lolly lower which is to cap the entire edifice. 
When this impressive feature has been finished 
the eye will follow its symmetrical proportions 
to a height of over 5 17 feet, greater elevation 
than that of Hie Great Pyramid, of St. Peter's, 
ul Rome, or of the Cologne Cathedral. As 



shown in our illustration, the building is com- 
pleted, and is represented as it will look in a 
short time after the various details have received 
attention, and the tower its full elevation. 



In scenic environment Philadelphia has not 
her superior in any city of the United States, 
her superlative park facilities giving her a dis- 
tinguished place among the cities of the world 
that can lay claim to contiguous natural beauties. 
Few, if any of such parks, surpass in diversity 
of effect, in picturesqueness and in graceful 
gradation from grandeur to simplicity, the 
charming vistas of Fairmount. Nearly 2800 
acres are comprised in this stretch of land, and 
woodland, field, river and rocky ravine unite to 
enthral the visitor with unexpected enchant- 
ments of vision. Miles of the wildest and rocki- 
est scenery 
blend with 
the interven- 
ing solitary- 
nooks along 
the \V i s s a - 
hickon with 
an incompar- 
able effect. 
Associations 
of an historic 
character 
add to the 
charm of the 
locality, and 
it is not at all 
difficult to 
rehabilitate 
the place with its native children who once 
roamed through its forests, fished in its streams, 
and hunted within its confines. 

The two views offered upon the opposite page 
are from photographs made along the quiet and 
beautiful Wissahickon, and afford some idea of 
the rustic beauties awaiting the visitor who sees 
them in their summer raiment. They afford a 
fitting termination to a sketch which has been 
necessarily brief. If the results to the visiting 
delegates of the United Typothetse of America 
stand in after-days as recollections of a pleasur- 
able occasion, we shall be more than repaid. 

Philadelphia has seen many opportunities for 
extending her well-recognized hospitality to 
distinguished guests. To the master printers 
in their annual convention assembled she will 
lender her warmest and most cordial wel- 
come. 



64 





VIEW OX THE WISSAHICKOX. 




VIEW ON THE WISSAHICKOX. 



THE MOVABLE UNIT. 



A SIMPLE AND EQUITABLE SYSTEM FOR MEASURING TYPE COMPOSITION. 



(Copyrighted, 1893, by William B. MacKellar. ) 




URING the past few years 
several methods have been 
proposed to replace the 
one in vogue for the meas- 
urement of type composi- 
tion. From the complex- 
ity of their nature, or from 
their lack of practicability, 
they have met with little 
favor. The dissatisfaction prevailing among 
kindred interests in the craft, and of the em- 
ployer and the employed, demands that some 
remedy be at once applied that shall correct 
the existing inconsistencies in measuring com- 
position, and also the inequalities of remunera- 
tion for it. 

In this paper is presented a simple, just and 
comprehensive plan, new in feature yet easily 
applied. As it interests not only individual 
cities, but affects the well-being of the printing 
fraternity throughout the entire country, it is 
a matter for thoughtful consideration, and it 
should receive the earnest attention it deserves. 
At the session of the International Typo- 
graphical Union of the United States, held in 
1SS6, a committee was appointed to take into 
consideration the existing variations in the 
thickness of lower-case alphabets of plain, or 
newspaper, type. The committee met, and re- 
ported a resolution objectionable in principle 
and difficult of uniform application. The entire 
scale of measures of lower-case alphabets, from 
Pica down to Diamond, was increased one em, 
as follows: 





Old 


New 




Old 


N e w 




Scale. 


Scale. 




Scale 


Scale. 


Pica .... 


12 


13 


Minion . 


■ 13 


M 


Small Pica 


12 


t3 


Nonpareil 


• 14 


[ 5 


Long Primer 


12 


13 


A -ate . . 


• • 15 


16 


Bourgi 


12 


13 


Pearl . . . 


. . i< 


17 


Brevier . . , 


• 13 


> > 


Diamond . 


17 


[8 



The fact that no one type-founder in the 
United States makes type of all si/.es with 
lower-case alphabets thick enough to meet the 
requirements of the decisions of the committee, 
at once shows the- hardship and impolicy of 
this resolution. It also compels the printer or 
publisher using type not coming np to the 



standard given to pay an extra price for com- 
position. 

The effect of this proposed radical change in 
the thickness of type was probably not esti- 
mated by the committee. A compliance with 
such a provision would not only compel the 
re-cutting of a large proportion of fonts of type 
of all sizes, involving a great and unnecessary 
expense, but would restrict the choice of an 
author or a publisher to type of a broad face, 
even though the necessities of the case de- 
manded a thin face — as for directories, diction- 
aries, encyclopedias — and would increase the 
size and cost of books of such character. 

The subject has been several times agitated 
at recent meetings of the International Typo- 
graphical Union, but without arriving at any 
satisfactory reformation. The same antiquated 
and unjust method of estimating the value of 
1000 ems of type composition upon the basis 
of the em quad still continues its unreasonable 
existence. 

The restrictions placed upon type-founders, 
compelling them to cast type in unusual and 
distorted proportions to conform to compulsory 
regulations lately formulated, have led to in- 
creased study in the origination of a remedial 
scheme, equitable and satisfactory to all inter- 
ested. 

While my original system of adopting the 
letter m of its respective alphabet as a stand- 
ard, and of abolishing the use of the em quad, 
was in every way equitable, my new system 
now offered possesses additional advantages. 
Under this new principle the alphabet may be 
of any length, either above or below the re- 
quirements of the union. There also exists no 
necessity for guarding the lessening or increas- 
ing of the thickness of any letter. The thick- 
ness of the thirteen letters contained in the 
large boxes of the lower case need not equal 
the thickness of the thirteen letters contained 
in the smaller boxes. For this rule in measure- 
ment, lately promulgated, no plausible reason 
appears to exist. The apparent cause for the 
arrangement of the two sets of thirteen letters 
was, probably, that it was thought that the 



66 




THE MOVABLE UNIT. 



thirteen letters contained in the large boxes of 
the lower case were those most frequently nsed. 
This cannot be a correct basis, as such is not 
the fact. The union, in making this rule that 
the divisions of the alphabet, as mentioned, 
should be of the same respective measure, 
seems to have acted under a misapprehension. 
It demands that the letters c d e i s m n h o u t 
a r shall be of a length corresponding to the 
remaining thirteen letters of the alphabet. It 
does not follow that because the letter m occu- 
pies one of the large boxes of the lower case 
that it is one of the thirteen most frequently 
used. It is two or three times the thickness of 
the letter 1, and for this reason is given a large 
box to accommodate its proportions. In fre- 
quency of use the 1 exceeds the m by 40 per 
cent. Now, why the letter m should have been 
substituted in the thirteen letters most fre- 
quently used in place of the letter 1 is a matter 
that is difficult to comprehend, except so far 
that if it were not for this misplacement it 
would be impossible to make the two divisions 
of the alphabet approach anywhere near each 
other in even lengths. 

To supersede the present system, and to dis- 
pense with the radical and unequal lower-case 
measures referred to, I propose to abolish the 
em quad 1 or the square of the type '1 as the 
standard for measuring matter, and to adopt 
instead a standard represented by a movable 
unit. 

The first step is to establish the size of the 
movable unit. This is not by any means a com- 
plicated affair: 

First. Ascertain the number of points in an 
alphabet of the type that is to be used. 

Second. Divide this amount by 26, the num- 
ber of letters in the alphabet. The result of 
this will be the unit of measurement for that 
face or size of type. 

Third. Now, to ascertain the number of like 
units in one line of matter set, divide the num- 
ber of points that are contained in the measure 
of the column by the unit already found. This 
will give the correct number. 

Fourth. Multiply this number by the lines 
of the take, and this will give you the entire 
number of units in the whole matter set. 

This is based on the principle of self-adjust- 
ment, and is so comprehensive that it affords 
equal rights to all : 

1. It secures to the compositor a just and 
equal compensation for setting any variety of 
" lean " or "fat" type. 

2. Instead of the present arbitrary exaction, 



it leaves the choice or selection of faces to the 
printer or publisher. 

3. It in no wise interferes with the present 
system of plain faces made by the type-founder. 

On the following page are two examples, 
respectively showing a lean face and a fat face 
of Brevier. 

Taking the first example, we find that the 
lower-case alphabet measures 104 points. This 
amount divided by 26, the letters of the alpha- 
bet, gives as a quotient 4 points, which is the 
unit. The width measure of the column of 
matter set is 162 points. This amount divided 
by 4, the unit, gives 40 }4, which is the number 
of units in one line. This amount multiplied 
by the number of lines set, which is 40, gives 
1620 units, which is contained in the piece of 
matter. 

Taking the second example, the lower-case 
alphabet will be found to measure 120 points. 
This amount, divided by 26, gives a result of 
4 T 8 3, w'hich is the unit. The measure of the 
matter being 162 points, when divided by the 
unit 4 r 8 3, gives 35, the number of units in the 
line. This latter multiplied by the number of 
lines in the take, which is 40, makes a total of 
1400 points. 

A comparison of the two examples shows 
that in the same space occupied by either the 
compositor on the lean face will be equitably 
paid for 1620 units, while on the fat face he will 
receive compensation for 1400 units. Under 
the old system of measurement by the em 
quad the compositor on the ' ' lean ' ' type is 
compelled to set the additional seven lines to 
make the 1400 units, being unjustly made to 
perform nearly 25 per cent, more labor to re- 
ceive the same pay as another compositor work- 
ing on the " fat " type. 

The principle explained adapts itself with a 
similar result to every* face and body of plain 
tvpe that is made. It is not complex, and the 
compositor is not compelled to enter into diffi- 
cult calculation. 

In every instance the unit, increasing or 
decreasing in size in proportion to the length 
of the lower-case alphabet, whether " lean " or 
"fat," will invariably regulate the number of 
lines to be set to make 1000 units, or portion 
thereof. A critical examination will disclose 
the fact that the same number of individual 
tvpe, and the same number of movements in 
setting and distributing, are performed in every 
1000 units of matter so set, regardless of what 
plain face of type be used. 

At a conference held November 28, 1892, at 



67 



THE MOVABLE UNIT. 



EXAMPLE OF A BREVIER LEAN FACE. 

Measures 40*4 units. 

mmmmmmmmmmmmmmmmmmmmmmmmm 

In tying up a page use fine twine, winding 
it four or five times round it, and fastening at 
the right-hand corner by thrusting a noose of 
it between the several turnings and the matter 
with the rule, and drawing it perfectly tight, 
taking care always to keep the end of the cord 
on the face of the page. While tying it, keep 
the forefinger of the left hand tight on the cor- 
ner, to prevent the page from being drawn aside. 
The twine being fastened, the compositor re- 
moves the page from the ledges of the galley, 
to see if the turns of cord lie about the middle 
of the shank of the letter; if they lie too high 
— as most commonly they do — he thrusts them 
lower; and if the page be not too broad, he 
places the fore and middle finger of his right 
hand on the offside of the head of the page, and 
his thumb on the near; then, bending his other 
fingers under, he presses them firmly against the 
head of the page; he next places the fingers of 
his left hand in the same position at the foot of 
the page, and, raising it upright, lays it on a 
page-paper; then, with his right hand he grasps 
the sides of the page and the paper, which turns 
up against the sides of the page, and sets it in 
a convenient spot under his frame, placing it on 
the left hand, with the foot toward him, that 
the other pages that are in like manner set 
down afterward may stand by it in an orderly 
succession until he comes to impose them. If 
the page be a quarto, folio, or broadside, it is, of 
course, too wide for his grasp, and he therefore 
carries the galley and page to the imposing- 
stone, and turns the handle of the galley toward 
him, and, taking hold of the handle with his 
right hand, he places the ball of the thumb of 
his left hand against the inside of the head ledge 
of the galley, to hold it and keep it steady, and 
by the handle draws the slice with the page 
upon it out of the galley, letting the slice rest 



EXAMPLE OF A BREVIER FAT FACE. 

Measures 35 units. 

mmmmmmmmmmrnmmmmmmmmmm 

In tying up a page use fine twine, 
winding it four or five times round it, 
and fastening at the right>hand corner 
by thrusting a noose of it between the 
several turnings and the matter with 
the rule, and drawing it perfectly tight, 
taking care always to keep the end of 
the cord on the face of the page. While 
tying it, keep the forefinger of the left 
hand tight on the corner, to prevent the 
page from being drawn aside. The 
twine being fastened, the compositor 
removes the page from the ledges of the 
galley, to see if the turns of cord lie 
about the middle of the shank of the let- 
ter ; if they lie too high — as most com- 
monly they do — he thrusts them lower ; 
and if the page be not too broad, he 
places the fore and middle finger of his 
right hand on the off side of the head of 
the page, and his thumb on the near; 
then, bending his other fingers under, 
he presses them firmly against the head 
of the page ; he next places the fingers 
of his left hand in the same position at 
the foot of the page, and, raising it up- 
right, lays it on a page-paper; then, 
with his right hand he grasps the sides 
of the page and the paper, which turns 
up against the sides of the page, and 
sets it in a convenient spot under his 
frame, placing it on the left hand, with 
the foot toward him, that the other 
pages that are in like manner set down 
afterward may stand by it in an orderly 
succession until he conies to impose 
them. If the *page be a quarto, folio, or 
broadside, it is, of course, too wide for 
his grasp, and he therefore carries the 
galley and page to the imposing-stone, 



Syracuse, X. Y., composed of committees rep- 
resenting the four distinguished bodies, The 
Newspaper Publishers' Association, The United 
Typothetae of America, The International Typo- 
graphical Union, and The American Type- 
Founders' Company, called together to consult 
upon the recommending of a new standard of 
measurement for the lower-case alphabet, a 
resolution was passed favoring the adoption 



of the lower-case letter m in place of the em 
quad. 

For a still more favorable indorsement, I 
now present the Movable Unit Standard to the 
printing world. It being so correct and equit- 
able in its result, may it not be hoped that it 
will receive the degree of approbation that it 
deserves, and prove a medium productive of 
harmonious results? 

William />. MacKellar. 




Specimen of Engraving in three colors by 

P, A, RINGLER CO, 

26 and 28 Park Place to 21 and 23 Barclay Street, New York 

Manufacturers of Plates for all Printing and 
Embossing Purposes 



ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN. 

{With Illustrations.] 



K- - ■_ -■ r:\r _ .\_.- .-, ; 


'■-■" 


■HHH 




p^iia 




IJW» 






aa 


i *td 


IIP 


i(JI 






M^B 



EW subjects, whether deal- 
ing with the sociology of 
a nation or with its tech- 
nical methods and achieve- 
ments, possess the vital 
interest for a western mind 
such as that which inheres 
in everything of oriental 
origin; there is a peculiar 
charm which the uncon- 
ventional fancy and un- 
restricted methods of the 
peoples in these lands lend to their handiwork, 
and which is so entirely foreign to our own means 
for arriving at the same results, as to compel 
our close attention to every description of their 
arts and processes that promises enlightenment. 
This is especially true of the fascinating art- 
industries of Japan, and although we are gradu- 
ally learning the truth about the means and 
methods of artisans belonging to this intelligent 
nation, there is still much to be gained before 
our fund of authoritative knowledge shall be 
considered as even approximately complete. A 
recent addition to the literature of one of the 
most important branches of Japanese graphic 
arts leads to the present review, which will be 
as exhaustive as the document from which our 
information is to be gained will allow. 

Through the kindness of T. Tokuno, Chief 
of the Bureau of Engraving and Printing of the 
Ministry of Finance, Tokio, Japan, the United 
States Kational Museum has received as a gift 
from the Imperial Government of Japan the 
complete outfit of a Japanese wood-cutting and 
woodcut-printing establishment, accompanied 
by illustrated descriptions of all the tools and 
materials sent, and of the processes used by 
Japanese engravers and printers. This very 
valuable addition to the Graphic Arts Section, 
of which S. R. Koehler is curator, was accom- 
panied by descriptive information from Mr. 
Tokuno, which has been elaborated by the re- 
sults of subsequent correspondence between 
that gentleman and Mr. Koehler, thus forming 
a most interesting monograph upon the subject, 
and which the Smithsonian Institution has seen 
fit to publish in pamphlet form. Mr. Koehler 
has edited and annotated the communication 
and added some extremely interesting comment 
of comparative historical character, performing 



the work with that scholarly care and accuracy 
for which his researches are notable. By the 
kindness and courtesy of the Public Printer we 
have been enabled to procure electrotypes from 
the original half-tone plates made for the mono- 
graph, and are thus enabled to offer the readers 
of the present Souvenir most interesting illustra- 
tions from native artists, of a subject about 
which the greater majority will be glad to learn 
all that is possible. The illustrations were made 
either from the objects themselves, or from 
drawings by Japanese artists, furnished by Mr. 
Tokuno. 

At the outset of the monograph, the woods 
used by the Japanese artisan present themselves 
for consideration, and Mr. Tokuno says that 
while " tsuge," a variety of Buxus Japonica, or 
"adsusa," Catalpa Koempferi, var. Japan ica, 
are employed, according to the degree of fine- 
ness of the written characters or pictures to be 
reproduced, the wood most generally used is 
"sakura," a variety of cherry. In all cases, 
however, the texture must be fine and hard. 

This wood is first cut into planks, which are 
planed until they are perfectly level and smooth, 
free from all traces of the plane, and show some 
lustre on the surface. The two sides are finished 
alike, as the wood-cutter utilizes both. 

Cut planks which are to be printed in black 
only are usually mounted between strips nailed 
to each end. There are several reasons for this. 
It prevents the warping of the planks; it gives 
free access to the air between them when a 
number are stored on top of one another, and 
provides the best means of keeping them dry and 
guarding against damage by insects; it prevents 
immediate contact of the blocks, and, finally, it 
is sometimes very convenient, as it facilitates the 
drawing out of such planks as may be needed 
from among many stored away together, the 
planks being marked or numbered on the sides 
of the strips. For color-printing, however, the 
same plank often has two or three designs upon 
it for different tints, and consequently has regis- 
tering-marks on different parts. In that case, 
the end strips would be in the way, and are 
therefore omitted. 

From the tools enumerated by Mr. Tokuno, 
it appears that the engraver does not suffer from 
dearth of chisels, although he uses but one 
engraving-tool for cutting out the design. This 



69 



ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN. 



knife, which is shown in the accompanying 
illustration, is always of the same pattern and 
size, and is used to execute all grades of work, 
from the coarsest to the finest, the result de- 
pending entirely upon the skill of the engraver. 
Of their chisels, there are varying sizes, six 
being used for removing smaller portions of 
wood from between the 
lines of the design, two 
for correcting purposes 
( i. e. , removing parts for 
' ' plugging " ) , four for 
larger parts, and two semi- 
circular chisels for the 
same purpose. These 
tools are of the very best 
quality. The engraver 
also uses a ruler for cut- 
ting straight lines, and 
for fixing the registering- 
marks on the planks used 
in color-printing, besides 
a brush for removing from 
the plank the chips 
thrown out by the cutting- 
tools, and a saw for cut- 
ting small pieces of wood 
to be inserted in the plank 
for corrections. Three 
kinds of grinding-stones 
are used; an oil-pot in 
which oil of Sesamum 
orientate is kept for rub- 
bing the portions of the 
plank to be cut, so as to 
soften the wood and make 
the cutting cleaner and 
easier ; an oil-brush and 
two wooden mallets for 
driving the chisels. This 
completes the equipment 
of the Japanese engraver 
on wood, and with it he 
produces results that are 
amazing. 

The originals are fur- 
nished to the wood-cutter 
and transferred to the 
planks. Of this manipu- 
lation Mr. Tokuno gives 
a complete description* "Written characters 
or pictures to be cut on wood are drawn upon a 
certain kind of Japanese paper, ' minogami ' or 
'gampishi,' and the drawings thus made are 
] lasted i face downward | upon a prepared plank 
by means of starch paste. The plank is now 




FROM THE SPECIMEN 



read)- for the engraver. This applies to prints 
in black only. For color-printing, the outlines 
of the design are first cut and printed in black 
ink ( india ink mixed with a solution of glue) 
upon ' minogami,' and the designer of the pic- 
ture then marks the parts to be colored (on 
different sheets ) . These sheets are then pasted 
down on the planks, as 
before stated, and the 
engraving also proceeds 
as before." 

The character of the 
tool used does not appear 
strange when we are ac- 
quainted with the aim of 
Japanese wood-cutting, 
which is intended to show 
the direction of the brush 
in painting and to thus 
preserve the features of 
an original picture or of 
the written characters it 
may be employed to re- 
produce. Indeed, "the 
direction in which the 
knife is moved might be 
said to be almost identical 
with the direction of the 
brush, and wood-cuts by 
skilful hands therefore 
show the exact features 
of the originals, while at 
the same time the3^ have 
a special artistic character 
of their own." 

The view of a native 
wood-engraver at work, 
offered in this connection, 
will explain the manner 
in which the main tool is 
used. Here A represents 
the plank to be engraved ; 

B, a grinding-stone for 
sharpening the tools, and 

C, a box for containing 
the various appliances al- 
ready described. The 
engraving-knife is held 
in the right hand, the 
middle finger of the left 

hand giving pressure at the back of the blade ; 
held thus, it is pushed to cut around the lines of 
the design, after which the chisels are brought 
into use to remove the surrounding wood and 
leave the lines in relief. A small brush is then 
used to clean and wash the plank, a proof is 



NATIONAL MUSEL 



JAPANESE WOOD-CUTTER'S KNIFE 

Actual size. Two views. 



70 



ARTS OF WOOD-CUTTING AND WOOD-CUT-PRINTING IN JAPAN. 



pulled to exhibit quality, and the corrections 
are made, if needed. 

The difference between the old and modern 
methods of Japanese wood-cutting lies in de- 
tail rather than principles, the ancient wood- 
cuts being deeper, the shallowness of modern 
work being probably ascribable to an abilit} 7 for 
finer work. "In the ancient style," says the 
author, " the outer boundaries of letters or pic- 
tures were cut away deeply before they were 
properly engraved. At present the stages are 



"Semi-circular chisels are now in use for 
removing some of the part between the lines of 
the design. There were no such chisels for- 
merly, and hence much more time and labor was 
spent on this part of the work than at present." 

The foregoing constitutes the substance of 
what Mr. Tokuno has to say upon this branch 
of the subject, and the balance of his commu- 
nication is taken up with the materials and 
processes of printing. This section is so inter- 
esting, and withal so important, that we must 




FRO".! A DRAWING IN THE 



MUSEUM BY A JAPANESE ARTIST. 

JAPANESE WOOD-CUTTER AT WORK. 



reversed. The latter method takes less labor 
and time, and it is probably one of the causes of 
the shallow cutting at present in vogue. 

" Formerly the paper bearing the original de- 
sign, after it had been pasted down on the plank, 
was oiled, so as to make it transparent, and to 
enable the wood-cutter to see the design quite 
distinctly. This is not quite necessary now, as 
it is easy to get paper sufficiently thin and trans- 
parent in itself. 



ask pardon for reproducing a great portion of 
it verbatim, promising that the reader will find 
the data complete enough to warrant a much 
wider publicity than the monograph would 
naturally give it. 

The papers used for printing and their treat- 
ment yield to Mr. Koehler, editor of the mono- 
graph, his first caption. 

Whatever the quality of the paper, it is sized 
with a thin animal size. Among the prints sent 



7i 



ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN. 



to the U. S. National Museum are impressions 
on three different kinds of paper : a special 
Japanese paper, made at the Insetsu-Kioku 
paper mills i known in America as Imperial 
Japanese paper ), a Chinese paper, and " masa " 
paper. Mr. Toknno continues: 

' ' The sheets are moistened with water before 
printing begins, the degree of moisture differ- 
ing according to the quality of the paper, the 
proper degree being determined by the judg- 
ment of the printer. ' Masa ' paper, for in- 
stance, on which the progressive proof of one 
of the pictures ('Yinaka genji 1 ) sent to the 
U. S. National Museum is printed, should be very 
slightly moistened by means of a brush. Experi- 
ment has shown the amount of moisture in this 
case to be 13.86 percent. A single wet sheet is 
put between every three or four dry sheets until a 
suitable layer is formed, which is pressed be- 
tween two wooden press-boards. When all the 
sheets have the proper degree of moisture they 
are ready for printing. 

" As the printing on this moist paper is done 
with water-colors, it can be well done only by an 
experienced printer. The following points are 
to be noted : A, the paper should rather be 
under- than over-moistened. If it is over-moist- 
ened, the water-colors will spread beyond their 
limits. If the paper dries during the progress 
of the work, wet sheets are put between the 
sheets to be printed, and the heap is allowed to 
lie until the proper degree of moisture has been 
obtained. If the paper is thick and strong it 
should be slightly moistened from the back by 
means of a brush. B, great care must be taken 
not to put an excessive quantity of color on the 
plank. Rice paste serves well to prevent the 
water-colors from spreading, and it ought to be 
used for every impression. 

"The printed sheets, in the interval between 
the printings, are laid on top of one another, to 
the number of many hundred sheets. If the 
water-colors have been properly applied there 
is no fear of offsetting on the backs of the 
sheets. 

" A backing-sheet i> not generally used, but 
if it is desired to avoid all traces of the ' baren ' 
on the back of the printed sheets, a sheet of 
thin paper is used tor backing." 

The occasional use of silk instead of paper 
for printing also affords basis for an inter- 
esting remark. One of the specimens in the 



U. S. National Museum is on silk, which it is 
usually found necessary to mount on paper ; 
some experts, however, can print without this. 
The impression alluded to, which is in thirty- 
three colors, was mounted on paper, but only 
along the edge which was laid against the 
registering-marks ; this edge was trimmed off 
when the printing was finished. 

PIGMENTS AND VEHICLES USED IX PRINTING. 

" Five colors or pigments only (black, white, 
red, yellow and blue) are generally used for the 
most characteristic Japanese printing, such as 
the picture called 'Yinaka genji,' sent to the 
U. vS. National Museum. They are all mixed 
with the necessary quantity of water, when 
about to be used, and the various hues, shades, 
and tints required are obtained by mixing the 
proper pigments together. These pigments, of 
which samples were sent to the U. S. National 
Museum, are the following : 

"Black, ' tsiike-zumi,' is generally prepared 
by macerating Japanese ink (a kind of india 
ink ) in water for a few days, until the glue con- 
tained in it is dissolved, and the ink is suffi- 
ciently softened. It is then ground by means 
of pestle and mortar. As, however, the ' tsuke- 
zumi ' so made is very liable to deterioration, a 
sample of a lampblack obtained from a Japanese 
ink, macerated in water so as to remove the glue, 
was sent to the U. S. National Museum. Conse- 
quently, when this lampblack is to be used, and 
after it has been mixed with water, glue solution 
or rice paste (according to the judgment of the 
printer 1, will have to be added. If glue solution 
is used it should be mixed with the lampblack 
in a basin, but if rice paste is used, that is mixed 
with the pigment on the plank itself by means 
of the brush. 

"White, ' to-no-tsuchi,' is white lead. It is 
used either alone, for prints of flowers, birds, 
etc., or mixed with other colors, if light tints or 
body-colors are wanted. 

" Red, ' yo-ko,' a kind of scarlet 1 imported ), 
probably carmine. Formerly the best kind of 
saffiower, called 'ki-jo-mi,' was used, but on 
account of its present high price the use of 
' yo-ko ' has become quite popular. 

" Blue, ' bero-ai,' is prussian blue. Formerly 
' ai-rd ' paste, obtained by extraction from blue 
threads or rags dyed with indigo, or from 
'aigami,' a paper saturated with indigo, was 



'An illustration from a Japanese novel, of which the 
title is given, it is described by Mr. Koehlerasa design 
in black outlines with c<.ior washes, and is printed on 
three sheets, intended to be pasted together, which 



would give a picture 29 x 14 inches, it represents a 
hilly landscape, in the middle ground of which agri- 
culture is being pursued. There are twenty-six print- 
ings. 



7- 1 







FROV SPECIVENS IS THE U. S. NATIONAL MUSE 



BAREX AXD ITS PARTS. 

Reduced in size. Actual size, 5^ inches in diameter. 

a, the stiff rimmed disk, which holds the corded disk ; A. the disk of twisted cord; <\ the bamboo 
sheath ; d, baren complete, seen from the tack, shewing the handle, with the strip of paper wound 
around it. 



ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN. 



used. But since the introduction of prussian 
blue from Europe its use has become general. 

''Yellow, 'ki-wo,' is orpiment. Formerly 
'zumi,' extracted from a particular yellow 
wood ; turmeric, ' wuken-ko ;' and a yellow 
ochre, 'wo-do,' were used, but orpiment has 
now taken their place. 

" For mixing these colors water only is used, 
but never any sizing such as glue, except with 
lampblack, as before stated. A small quantity 
of rice paste is, however, mixed with the colors 
on the block or plank when color-prints are to 
be made. 

" By mixing these pigments the various hues 
desired can be obtained, but the results will be 
as bright as those shown in ' Yinaka genji ' only 
in the hands of a skilful workman. There is, 
however, no particular method of producing 
these colors; the result depends entirely upon 
the practical experience of the printer, who can 
judge the exact proportions of the pigments to 
be mixed without vising either balances or meas- 
uring-glass, and who does the mixing either in 
his color-dishes or upon the blocks themselves. 
Rice paste gives a peculiar lustre to the colors 
and much of their beauty depends upon the 
time and care devoted to grinding them with 
water. It is a fact well known to Japanese 
printers that skilled hands produce much finer 
colors with the same pigments than unskilled 
hands. 

" There is a brilliant purple (violet) used in 
' Yinaka genji,' which has been taken for an 
anilin color, although no anilin color has been 
used in the printing of this picture. The color in 
question was obtained by boiling a certain quan- 
tity of red (scarlet) and blue (prussian blue), 
such as those just described, with water, and 
with proper treatment a bright purple (violet) 
can be obtained, almost the same as with an 
anilin purple. This latter purple, however, has 
now come more generally into use, owing to the 
ease with which it can be managed. A brown 
color, formerly made by mixing red, yellow and 
black, has now also been replaced by ' bengara,' 
which is a kind of red ochre." 

All of the pigments cited by Mr. Tokuno are 
ii' >i like those given, a description of some 
others, used in a different colored impression 
from wood-cut blocks of a plant, giving other 
formulae. Here a black is used, called " sunii," 
the best kind of india ink made in China or 
Japan | the particular place is Nara K It is pre- 
pared for use by rubbing with water upon the 
surface of a stone vessel called "suzuri," fa- 
miliar to every Japanese. 



White, " gofun," calcium carbonate (white 
chalk), is another white than that mentioned. 
' ' For use it is put in a color-dish and a few 
drops of glue solution added. It is then rubbed 
with the finger in contact with the dish until it 
becomes a wet mass and somewhat past}-. A 
little glue solution is again added, and the rub- 
bing repeated, and so on several times. "When 
the mass has become sufficiently pasty to be 
made into a pudding, it is beaten several times 
against a plank, and then reduced to a thin 
paste by diluting with water." 

Pink, " sho-yen-ji," is apparently cochineal, 
but its chemical nature has not been ascertained. 
"It is imported from China in the form of 
cotton-felt dyed red. To prepare it for use this 
felt is put into water and gently pressed. The 
resulting pink water is poured into a color-dish, 
and evaporated nearly to dryness in a water- 
bath, or over a very slow fire, care being taken 
not to let it dry completely, as otherwise its 
brilliancy would be destroyed. It is then kept 
in a cool place, and protected from dust by put- 
ting a cover on the dish or by placing it upside- 
down in a box. ' ' 

Blue, "ai-bo," is a dark -blue stick made of 
indigo. " For use it is ground like ' sumi,' in a 
color-dish, with a few drops of glue solution. 
When a sufficiently deep-blue color has been ob- 
tained, it is well rubbed with the finger in con- 
tact with the dish, and then evaporated to dry- 
ness over a slow fire. A few drops of water are 
now added, the dish is again placed over a slow 
fire, the nibbing with the finger gone through 
with as before, and water is added gradually 
until the proper shade of color has been ob- 
tained. If these directions are not strictly fol- 
lowed, the pigment is not well diffused in the 
water, and the resulting color, as a matter of 
course, is not satisfactory. The treatment of 
the pigments 'gofun,' ' shoyen-ji,' 'ai-bo,' etc., 
requires great caution, and the Japanese printers 
and painters consider it one of the difficulties of 
their art." 

There are also, beside the above, a yellow, 
" shi-o," which is imported, gamboge; a brown', 
" tai-sha-bo," a hard, brown stick made of red 
ochre; a red, "shu," composed of vermilion; 
another red, " ki-jo-mi," saffiower; a red ochre, 
" ben-gara ;" turmeric, " wakon-ko ;" a yellow 
ochre, "wo-do;" a yellow, "zumi," extracted 
from a certain yellow wood; a blue, " ai-gami," 
paper saturated with a solution of indigo; and a 
blue, "ai-ro," indigo paste. 

The following is said about the vehicles used 
by the printer in manipulating his colors: 



74 



ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN. 



"Glue Solution. — The strength of this solu- 
tion differs according to the different pigments, 
printing papers, etc., to be used. About one- 
third of an ounce of glue to about three fourths 
of a pint of water is, however, an approximate 
proportion. 

"•Rice Paste. — This is used for both of the 
classes of pigments described. It is made hy 
boiling rice flour with a certain quantity of 
water, and is kept in a suitable vessel. Newly- 



Our readers will doubtless be surprised at the 
simplicity of the tools used in printing. 

The tools used by the Japanese woodcut prin- 
ter are not man}-, but would be singularly puz- 
zling to anyone not initiated into their uses. 
They are preserved in a box. There are boards 
for pressing wet paper, receptacles for colors, a 
printing-table, brushes (one for each color used), 
a wetting-brush for the paper, some oil of Sesa- 
lnuni orientate, some chisels, and a knife used 




FROM A DRAWING IN THE U. S NATIONAL MUSEUM 8Y 



SESE ARTIST. 



A JAPANESE WOODCUT PRINTER AT WORK. 



made paste is preferable; old and rotten paste 
should not be used. The pigment to be used is 
put on the block or plank, and some of the 
paste is then added, care being taken to mix 
the two well and evenly by means of a brush. 
If the printing-brushes are not charged with 
this paste, the brilliancy of the colors is much 
lessened." 



to correct registering-marks when it becomes 
necessary; these, with a basin for color-mixing, 
an agitator for mixing the colors therein, some 
pads of cotton cloth to be placed under the four 
corners of the planks while printing, to keep 
them from moving, the five colors first men- 
tioned, and, most important of all, the baren, 
constitute the entire furnishings of a Japanese 



75 



ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN. 



office for printing fine illustrations, either in 
monochrome or colors. 

The baren, of which an illustration is given, 
is the Japanese printing-press; it is a little shield, 
which, after the sheet has been laid down on the 
plank charged with color, is rubbed over the 
back in a certain peculiar manner so as to 
induce the impressions. Its contacting face is 
occasionally nibbed with the oil mentioned. 

THE PRrXTER AND PRINTING. 

In the illustration depicting a Japanese prin- 
ter at work, the method of taking impressions 
is shown. The printer is seated, his tools ar- 
ranged in proper order for manipulation, and 
the plank placed upon the printer's table A. 
The bnish B, is used to lay on the color. ' ' The 
paper being ready for printing, and having been 
placed upon the shelf C, of the box D, a sheet 
of it is laid down upon the plank, and is rubbed 
lightly with the baren E. The printed sheet 
is then placed on a board which rests upon the 
box F, used for keeping colors, color-dishes, etc. , 
and when the required number of sheets has 
been printed, they are put back on the shelf C. 
Another plank is now taken, the second impres- 
sion is made upon the sheets bearing the first, 
and this is followed by the third, fourth, etc., 
until the printing is completed." 

The block is inked by putting on the pigment 
and then sprinkling on some rice paste. " It is 
well, also, to soak the brush properly with this 
paste, so as to mix it thoroughly with the pig- 
ment. This increases the brilliancy of the col- 
ors, and also fixes them more completely." 

A special kind of printing, which, in reality, 
is a kind of embossing, and which is called 
" dry impression," is used when designs of the 
same color as the ground, but differing in bril- 
liancy, are to be represented. This treatment 
is given after the printing is finished and the 
paper dried, and is carried out by laying the 
sheet upon a specially cut plank, bearing no 
pigment, and then going over it with the baren. 
This latter implement, which is the most im- 
portant of those used by the native workman, 
" is a little hard shield d, consisting of a stiff 
disk a, made of layers of paper pasted together, 
and turned up at the edge so as to form a very 
shallow receptacle, and covered with cotton 
cloth on the outside. A second disk b, formed 
of twisted cord, fits into this shallow receptacle 
and is held in place by the bamboo sheath r, 
made of the ribbed leaf of the bamboo, which 
is drawn tightly over it and twisted together on 
the back to form a handle. This latter is made 



more convenient for the hand to grasp it by a 
strip of paper wound around it, and so ananged 
as to assume the shape of a rectangular pad. 
The reason why it is made so hard, beside mak- 
ing the filling of twisted cord, is to prevent its 
bending during use. Moreover, if it were not 
so hard and rigid, the full stretching of the 
bamboo sheath would be impossible. The ribbed 
surface of the bamboo serves not only to get a 
sharper impression, by limiting the contact to 
the ribs, but it also prevents the adhesion of the 
wet paper to the baren, which would occur, to 
the spoiling of the paper, if the covering were 
smooth. The contacting surface should be ap- 
plied only to those parts of the plank which 
have been left standing in relief. If this pre- 
caution is neglected, there is the possibility of 
smearing from the depressed parts of the block." 
The direction used in handling this tool is zig- 
zag, a lighter rub with the edge being given 
when a very small and isolated part of the de- 
sign is to be printed. In the illustration shown 
herewith the dotted line represents the direction 
of the baren, the solid curved lines marking 
outlines of the design. The rib of the bamboo 
sheath is kept as nearly as possible at a right 
angle to the direction of the tool. 

One would naturally suppose that consider- 
able smearing would result from this method of 
printing, the depressions of the cut, the use of 
water-colors as inks and their application with a 
brush, tending to make the impressions decid- 
edly unclean. Mr. Tokuno says, however, that 
experienced printers work without fear of 
injuring the impressions and take no precau- 
tions against it. 

Possibly the most incomprehensible thing to 
one of our occidental printers, who is used to all 
the mechanical adjuvants to registering, is the 
manner in which the skilled Japanese printer 
will fit his colors to proper juxtaposition. Each 
color is represented by a separate plank, and 
certain fixed registering-marks are placed upon 
each plank, so that every sheet may be laid 
down with desired exactitude. "No mechani- 
cal means whatever are used, either in placing 
the sheet, or for holding it in position after it 
has been placed. The Japanese printer, in these 
matters as in all others, depends simply upon 
experience. The manner of placing the sheet 
on the block is shown. The same figure shows 
also the registering-marks on the block of 
plank, which consist of a rectangular notch 

J at the right, and a straight notch 

at the left. 

" In printing, the methods are about the same 



ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN, 



throughout, greater skill being naturally de- 
manded for the finer class of fac-similes, for the 
aim is to produce impressions which an inexpe- 
rienced eye can hardly distinguish from the 
original, providing, of course, the latter require 
such treatment as a work of art. The skill of 
the printer determines the hues, tints, and 
shades of color, and that of the engraver affords 
the interpretative value for the printer to work 
upon. The arts of engraving and printing are 
practised in Japan according to the dictates of 
experience, with no, or, at the most, but very 
slight, mechanical assistance." 

As to the cost of the work, the prints in the 
U. S. National Museum afford an excellent 
illustration, very naturally showing, in the case 
of the design from a Japanese novel (printed 



in three sheets, each about 9 



14 inches, 



which, when pasted together, form the com- 
plete picture) a great difference in cost over 
our own prices. The first sheet of this has 
twenty-five printings ; the second sheet, twen- 
ty-six, and the third, twenty-three, including 
a blind impression to give an embossed pat- 
tern in the garment of one of the figures. 
The original design, by Kuniteru, called 
also Yichiyusai, cost ten yen (about $7.60); 
the work of engraving, done by Kokichiro, 
Morikawa, cost about sixteen yen (about $12. 30) 
taking him about twenty days, and requiring 
about thirty-seven blocks; the printings, of which 
there were seventy-four, cost about fifty- 
four cents per day, 3000 sheets being printed 
from the black block, and 700 to Soo sheets from 
the color-blocks in that time. 



Another specimen, showing a reproduction 
from a water-color painting of a plant, the 
Nandini domestica, has thirty-three printings, 
the engraving costing about $6.38 for seven days' 
work, and the printer receiving about seventy- 
six cents a day, finishing in the neighborhood of 
200 sheets per week. The part of Mr. To- 
kuno's communication terminates with these 
words : 

" The people engaged in home industries do 
not generally take a rest on Sunday. The week, 
therefore, has seven days of about eight hours 
each. As the Nandini domestica has thirty- 
three printings, 200 finished sheets are equal to 
6600 impressions per week, or 943 per da}-. The 
numbers differ, however, according to the differ- 
ent nature of the blocks. Of the easiest, for 
instance, such as a uniform green for the leaves, 
1200 to 1800 sheets can be printed in a day, 
while of the most difficult ones, such as those 
giving the half -tints in the fruit, only 600 to 700 
sheets can be printed." 

In his subsequently appended notes, com- 
menting upon Mr. Tokuno's communication — of 
which we have given a fairly complete sum- 
mary — Mr. Koehler deals at length with the 
subject, giving much extremely valuable in- 
formation of a character deserving detailed at- 
tention; his notes cover a great deal of import- 
ant historical data. The space already occupied 
with summarizing that portion of the report 
occupied by Mr. Tokuno's communication forces 
us to forego the pleasure of completing it in this 
connection; the competent report of Mr. Koeh- 
ler will itself soon be published. 



THE EVOLUTION OF ILLUSTRATING. 




EARLY PAGE ORNAMENTATION. 



PSALTER, 1457. 
FAUST & SCHEFFER 



ONVINCING evidences attest the 
claims of ornament to an ancient 
lineage when we seek to follow 
out the threads awaiting our in- 
vestigation in early manuscripts 
and kindred means of record. If 
we may rely upon the citations 
of Pliny, of Seneca and Fabricius, 
the decorating of manuscript pages far trans- 
cended their own period. In his Hist. Nat., 
lib. xxv, c. 2, Pliny affirms that certain physi- 
cians of his day illustrated their books and 
painted the plants they described upon the pages 
of their medical works for the better instruction 
of their readers. Prior to this, however, the 
papyri of the Egyptians bore similar interpreta- 
tive and ornamental touches; later examples of 
manuscript, such as constitute our now oldest 
remains of noteworthy collections, simply con- 
tain small square drawings let into the text with 
no ornamental adjuvants, and it is possible that 
their predecessors equally confined pictorial 
effort to the stricter expressions of utility. 

Westwood, in his " Palseographia Sacra Pic- 
torial ' who gives one of the most valuable array 
of fac-simile reproductions from ancient sacred 
manuscripts, directs especial attention to the 
fact that the earliest specimens of ornament 
found as accessories to manuscripts occur very 
far back, the primitive examples showing differ- 
ent parts ending in crosses or small scrolls of 
different colored ink ; as a notable instance he 
mentions the famous Codex Alexandrinus, one 
of the foundations upon which our Scriptures 
are pronounced authentic. 

The finest early manuscripts remaining to us 
of the Gospels bear ornamental columns of an 
architectural character, having the same style 
of interlaced ribands as are to be found in the 
Egyptian and Ethiopic specimens. We find 
exquisite headings in early (.reek manuscripts 
of the Scriptures, the generality of which are 
thus ornamented at the commencement of each 
book, the heading extending across the top of 
each page, the lateral margins of the pages 
Ining adorned in rare instances with arabesques 
Of decorative borders. Among the first illu- 
minated manuscripts, which we have already 
designated in a preceding article as classifiable 



under the Anglo-Saxon or Irish manuscripts, 
borders surround the pages and traverse the 
whole or nearly the whole extent of the latter, 
the design being generally broken up into dif- 
ferent patterns most frequently depicting some 
gigantic lacertine animal with the head at the 
top of the page and the legs and the feet at the 
bottom. A few of the finest in this class exhibit 
a page entirely covered with an elaborate tesse- 
lated pattern laid upon the ground opposite the 
commencement of each Gospel ; there is nothing 
similar to this in the continental manuscripts. 
At a later period the artists whose reverence, 
originality and skill combined to such advantage 
in brightening the calligraphy of the manuscripts 
of this type, introduced the most splendid bor- 
ders into their work; narrow patterns surround 
the text in which various foliaginous motives 
have a part. ( See Westwood's " Palseographia," 
etc. ) 

Humphreys ( " The Illuminated Books of the 
Middle Ages") cites the sixth, seventh and 
eighth centuries as giving us the Irish and 
Anglo-Saxon styles in their original purity, and 
furnishes the student with some magnificent 
examples among his valuable fac-simile repro- 
ductions. ' ' The Book of Kells, ' ' perhaps the 
most superb of such manuscripts, and to which 
reference has already been made in a descrip- 
tive sense, is the happy illustration of " a style 
formed by the most artistic and ingenious dis- 
position of interweaving threads, bands or rib- 
bons of various colors upon black or colored 
grounds, varied by the introduction of ex- 
tremely attenuated lizard-like reptiles, birds 
and other animals similarly treated. The initial 
letters are of enormous size and extreme intric- 
acy, the altered form of fine Roman characters 
being the basis or framework of the design of 
these letters. Such letters and also the border- 
ings are generally surrounded with one or more 
rows of minute dots, and another peculiarity is 
that the whole of the writing on the principal 
pages is generally kept large and made decora- 
tive by a colored ground, or the introduction of 
masses of color within or between the letters." 

During the eighth and ninth centuries — era 
of the Anglo-Saxon and Caroline | Charlemagne) 
styles of manuscript ornamentation — there was 



80 



THE EVOLUTION OF ILLUSTRATING. 



a noticeable tendency toward simplification. 
Interlacing ribands were apparently condemned; 
animals almost entirely disappeared, and borders 
were sparingly used on portions of the pages 
only. The Roman acanthus, or what Humphrey 
terms a debased form of it, was employed. 
Among the splendid manuscripts of the Caroline 
period, the pages are sometimes wholly set 
within narrow borders, which foliage occupies a 
prominent place in ornamenting. 

The appearance of a distinctive style in Eng- 
land marked the beginning of the tenth cen- 
tury. The text was framed within bars of gold, 
arranged so as to give an artistic environment, 
in the decoration of which an originally 
applied foliage held prominent place. 
The century following, this style was 
replaced in turn by another of broader 
and more florid character, principally 
seen in the initials, which were formed 
of branches, and in some instances of 
animals, interlacing the design. The 
terminals of these motives assumed a 
faunal character, heads of animals ap- 
pearing. The spaces between the orna- 
ments were usually painted in light blue 
or green, alternately applied. This 
effective style of decoration changed in 
transit to the following century and 
became a remarkable and noble embodi- 
ment of ornamental motives. Hum- 
phrey considers it, perhaps, the noblest 
style of illumination ever evolved during 
the thirteen centuries of practice of the 
art. "It is principally founded, ' ' says 
this specialist, ' ' upon the scrolling acan- 
thus, as exhibited in most florid Roman 
friezes, but rendered infinitely more in- 
tricate and the details treated in the 
crisp and peculiar manner of the period 
— the circling stems forming a more 
prominent part in the composition than 
the foliage '." This style he believes to 
be the foundation of the well-known Italian 
style formed of white interlacing branches on 
vari-colored grounds, that arose about the mid- 
dle of the fifteenth century, and was generally 
applied to large initials, never in illumination of 
borders. 

Several styles arose in the thirteenth century. 
One was properly a development of that which 
was popular during the century preceding, 
wherein greater intricacy of motive and appli- 
cation dominated the design. Human figures 
and fauna appeared, individual types of which 
were interlaced in such a manner with the text 



as to constitute its illustrations. As usual to 
every era, there were those who passed the 
boundary line of propriety, and hence we find 
specimens wherein an arbitrary designing ap- 
peared, devoid of interpretative suitability ; in 
such cases the effect constituted the whole aim, 
to the sacrifice of appropriateness. 

Another type of ornamentation, also largely 
the product of this century, and seen but rarely 
in the twelfth century, arose in the form of large 
squares occupying an entire page, or a large 
portion of it, generally surrounded by small 
mouldings, or rather borderings, of very delicate 
design and execution. 







toXMtnwm^fitnt qmiSiimoh 

Afl4ucntratt<^(^eftfora(%^ 
yxt& WiftmeiittK5r We die qw( 

xlic #fw$ moult? teMicoxmirrf 
tn$ <c <m\$C ftgttfe ^trtd con 
ttmanf qtw^ttfiwfeut rtbife 
re wine- 

VINNE 
FRENCH MANUSCRIPT OF THE FIFTEENTH CENTURY. I LACROIX. ) 



The styles of this century expanded, and 
" early in the fourteenth century the irregular 
bar or border, formed by the foliaged or dragon- 
formed tail of some principal initial, gave way 
to complete brackets formed of a vari-colored 
bar, terminating at top and bottom in a clip or 
branch formed of ivy leaves, the angular and 
crisp character of which gave the highest Gothic 
character yet developed by the art of illumina- 
tion, and completed a feeling of pictorial deco- 
rative art felicitously in harmony with the 
decorative sculpture of the great architectural 
works of the day." (Humphrey. ) Westwood 



Si 



THE EVOLUTION OF ILLUSTRATING. 



illustrates the styles and patterns of this and the 
two prior centuries, by calling attention to their 
borders ornamented by long, scroll-like motives 
springing from the capitals, often of red and 
blue lines drawn with pen, or broader, more 
ornamental and enriched ; and in which gro- 
tesques were more or less lavishly introduced. 
Other styles which appear in the fourteenth 
century, exhibit ivy branches with interwoven 
figures and mottoes, no inconsiderable skill be- 
ing displayed in the execution. Several other 
styles also became popular, brought into promi- 
nence by the songs and recitals of the trouba- 
dours, notablv a revival of the acanthus, as 




fc*tv 



xxytnavbat 



FROM DE VINNE. 

PAGE I ROM THE WONDERS <>!• ROME. (SOTHEBY.) 

Original ;' \ v Engraved in 1471-1484. 

superseding the more conventionalized and for- 
mal ivy-leaf motive. 

In the fifteenth century, the styles suffered 
Still further modification; the ivy-leaf bracket 
still held sway, but with changed characteristics. 

A new border was developed Out of the old styles 
in which two bands of a rich Gothic design con- 
stituted an inner and outer strip branching " out 
at the- centre and corners into minute ramifica- 



tions of the ivy branch, sometimes mixed with 
other features, and forming a rich, deep, lace- 
like border of great regularity and beauty." In 
the middle of this century the ivy-leaf motive 
vied with several other styles founded upon 
flowing foliage, and these were all ultimately 
amalgamated into one cumulative type of orna- 
mentation which constituted the later style of a 
great number of manuscripts. " The symmetri- 
cal arrangement was abandoned for one that 
may be called picturesque, irregular portions of 
the border being alternately occupied by the 
ivy-pattern and purple or variously-colored 
scrollwork formed of the flowing foliage above 
alluded to. Various details were altered and the 
ivy-leaf portions were further varied by intro- 
ducing branches of different plants, those most 
frequently used being the daisy, columbine, 
strawberry, rose and occasionally the vine and 
mulberry." ("Illuminated Books of the Mid- 
dle Ages. ' ' Humphrey. ) 

At the end of the fifteenth century, a back- 
ground was given to the illuminated borders, 
and a blending of plant-forms occurred. 

The sixteenth century ushered in an era of 
reaction, taste seeking expression in novelty; 
entire pictures were used to illuminate the bor- 
ders and these were contracted within narrow 
bars or strips. In the two centuries following, 
simpler styles succeeded, and the printed book 
had gained so great a position in the territory 
of book-making as to absorb no little quantity 
of the perquisites and prestige formerly enjoyed 
by the illuminator and calligrapher. The for- 
mer, however, found ample opportunity for the 
exercise of his particular talents as the greater 
majority of the books of this period used illu- 
minated illustrations, head-pieces, borderings 
and initial letters. From the outset of printing 
the illuminator found room for his skill, and we 
find some of the finest examples of his work- 
manship in the printed books of the earliest 
period. The manner of working was one of 
mutual guidance, the printer leaving a blank 
space at the commencement of his page, where 
it was intended that the capital letter 
should be located, and the illuminator after- 
ward using his pen, brush and colors to adorn 
the text. It was natural that the canonical 
observances of older periods and customs of 
illumination should exert a decided influence 
upon the printed page of this early period and 
such we find to be the case. Not only were tin 
letters themselves direct copies of the calli- 
grapher's originals, but the nnevenness of line 
at the terminations of the latter, the peculiari- 



82 



THE EVOLUTION OF ILLUSTRATING. 



ties of the initials, and the general character- 
istics of the work. were. as directly an imitation 
of manuscript writing and illumination as could 
well be conceived. As time went on this was 
modified and the introduction of newer concep- 
tions as to what constituted fitness in the effect 
to be given a printed page, and the illustration 
accompanying it, induced different results. 

Of the work in this line which was executed 
by the illuminator, not a few examples attest the 
excellence; the noble Bible of Faust and Schef- 
fer with its capitals furnishes the palaeographer 
with the finest types of German illumination of 
this period. Frequently these letters ran the 
entire length of the page, and their overrunnings 
gave abundant room for the imagination of the 
artist to display itself. To such initials later 
allusion will be had. 



land to render the public familiar with these 
numerous specimens of the higher range of 
artistic composition and design which abound 
in the illuminated manuscripts, and upon which 
Cimabue and Giotto, Van Eyck and Van Ley- 
den, Albert Diirer, Girolamo dai Libri and 
Julio Clovio, with a host of less celebrated, did 
not disdain to employ their talent." 

Any one who has been fortunate enough to 
glance through the collection which Mr. West- 
wood has assembled for his readers within the 
covers of his magnificent work will agree with 
him, and will readily admit the beauty resident 
in these precursors of modern illustrating, for 
while there is no similarity in method save in 
the means of applying accessories — and even 
these time has effectually changed to meet the 
varvinsr demands of new ideas and better me- 




tlotttetpeppofimaitjs^at: 
tibwa 0^atoi0 fignif cattotf 
kmmt rompkt autmuf ar 

fittonts atficafus: ur atr. a pun . ante, 
atmtrfism* ti&ntra.aft«xto> ritfm 

FROM DE VINN<=. 
F AC-SIMILE OF PART OF THE DOXATUS IX NATIONAL MUSEUM OF PARIS. (LACROIX. ) 



In a very valuable work upon the ' ' Illumi- 
nated Illustrations of the Bible ; copied from 
Select Manuscripts of the Middle Ages, ' ' which 
abounds in superb specimens taken from these 
original remains, J. O. Westwood, F.L.S., 
thus appreciatively comments: " Many of these 
highly valuable works 'tis true have lately been 
resorted to for the purpose of giving to the 
public illustration copied from these illumina- 
tions, but in most cases it has only been for the 
ornamental details and borders and of the beau- 
tiful and elaborate capital letters with which so 
many of them are enriched. It is, indeed, sin- 
gular that with these exceptions scarcely any 
attempt has been made in this country i Eng- 



chanical adjuvants — there is a splendid lavish- 
ness and artistic quality not seen in our modern 
work, and we are thus enabled to adjudge the 
times at their just artistic worth. A veritable 
treasure awaits the investigator in this field, and 
the publisher who wishes for specimens of deco- 
rative initials will find some of the richest and 
most beautiful ever executed. 

The period of the block book marks the intro- 
duction of attempts to mechanically render the 
page of matter into a form permitting of ready 
duplication. Advancement was slowly trending 
in the direction of typography, and the rude 
woodcut with its design cut lengthwise of the 
grain, afforded a raised surface, and, after a 



v« 



THE EVOLUTION OF ILLUSTRATING. 



short time, a printed proof. As the country and 
the precise time of the first block-book are very 
difficult to fix, we are not in possession of 
decided dates, but the approximate periods and 
nature of the illustrations comprised in these 
earlier remains afford us interesting materials 
for glancing over what may be called the transi- 
tional period of illustrating, etc. 

In "A History of the Art of Printing," pub- 
lished in London, 1867, and which is replete 
with interesting and rare fac-similes from origi- 
nal sources, H. N. Humphrey points out the 
advent of block-books as having been seemingly 
led up to in the following manner: " The elabo- 
rate decorations of manuscripts of the best class 
rendered them very costly, while the general 
revival of learning which occurred about the 
periods just named, caused such an 
increased demand that the art be- 
came generalized, and the trade en- 
sued." 



lift UfiltttOQ tD$P*tEtntfl 




^imiSiontattifeoGiirapmtt) 
aoQ^ calamrulIacfaratttotCri 

biamMtoimttrkcttofimimaii 




FROM OE VINNE. 



CONSIDERABLY REDUCED FROM COLOPHON OF 
PSALTER OF I457. (PALKENSTEIN.) 

In a manuscript of the tenth century, the 
"Historia Biblics Figuris" a fac-simile from 
which is given in the foregoing work, is a page 
of manuscript illustrated with designs in outline, 
such as were afterward imitated in the block- 
books, the drawing being run into the text and 
the margination preserved intact. 

The following instances noted by the writer 
will afford a few scattered peculiarities of the 
early printed books, the majority being legiti- 
mate specimens of typography and not block- 
books. 

An initial in the block-book known to us under 
the name of the "Ars Moriendi" is a crude 
example of imitation at the time; the initial is 
run into the text and an attempt is made at 
decorative treatment by use of the scroll motive. 



On a page of the " Cicero," printed by Faust 
and Scheffer, at Mayence, in 1466, the illumina- 
tions run along in the manner characteristic of 
preceding periods. Borders surround the page, 
and a block initial is set squarely into the text, 
other examples of these capitals running into 
the margins wdth a decorative intent. 

On the first page of Boccaccio's "Misfor- 
tunes of Noble Women," printed by J. Zainer, 
Ulm, 1473, occurs an interesting initial S, with 
a border at the head, extending above it in 
ornamental fashion and running down the mar- 
gin parallel with the text, and treated in a pic- 
torial manner as to design, similar to manu- 
scripts already noted. This work also shows an 
illustration at the head of the page in a style 
used far later, the initial being set into the text 
below the illustration thus located. This cus- 
tom was oft-repeated. In some of the early 
books the ornament was purely arbitrary and 
evidently intended as solely pictorial, but in the 
main the tendency seems to be in the direction 
of pure ornament rather than pictures. 

On the first page of the " Aristotle," printed 
by Aldus, at Venice, 1495, occurs the distinctive 
head-piece, purely ornamental, which had been 
long antedated in illuminated work. It is of 
scroll-like design, with interlacements. An 
initial set into the text, with margin intact be- 
neath title, appears upon the page. 

In the " Royal Book," printed by Caxton in 
1484, the illustration is set at the left top of the 
text with initial to the right, rather an oddity in 
later times, but at the period quite common, the 
text being twice overrun — once around the in- 
itial and once around the illustration. 

A page from the ' ' Romance of Fierabras, ' ' 
printed at Geneva by L,oys Gaebin, A.D. 1483, has 
the illustration of same width as the text-page, set 
at the bottom of page, with block initial squarely 
inserted into the text at the head of the page. 

In a page from the ' ' Prayer Book ' ' of the 
Emperor Maximilian, 15 14, a rubricated line 
constitutes the ornament, each line being accent- 
uated by a red line beneath and the entire page 
thus surrounded. The initial is also in red. 

Upon these and various minor modifications 
of similar methods, the later developments of 
book-making arose. Our illustrations exhibit a 
few early specimens, and if the methods of 
those days are better understood, they will have 
fulfilled their purpose. A subsequent article 
might consider the initial letter, in its relation to 
the printed page, when the products of different 
periods should receive illustrative treatment. 
Harold M. Duncan. 



84 




&onn.eau j-t 



P L I N Y's EPISTLES. 



BOOK V. 



EPISTLE I. 

Pliny to Catilius Severus. 

SMALL legacy is fallen to me, but 
more acceptable than the largefL Why 
more acceptable than the largeft? Pom- 
pon i a Gratilia having difinherited 
her fon, Assudius Curianus, left 
me one of her heirs, and appointed Ser- 
torius Severus, a man of praetorian 
order, and other eminent Roman knights, coheirs with 
Vol, I. A a a me. 

FAC-SIMILE FROM ORRERY'S PLINY, PRINTED BY JAMES BETTENHAM FOR PAUL YAILLANT, IN THE STRAND, I75I. 




44 o PLINY's EPISTLES. 

All laws were originally founded on juftice, wifdom and candour : 
They are ftriftly adhered to, and rigoroufly executed in the firft fet- 
tlement of a ftate. And while fuch a due obfervance of equity and 
uprightnefs is maintained, the magiftrates preferve their juft power, 
and the people their juft freedom. But time and profperity produce 
indolence, avarice, and numberlefs other evils, which undermine the 
foundations of juftice, and by degrees bring the fuperftru&ure to the 
ground. In our author's days the Roman government was moulder- 
ing into decay: and although Nepos, and other particular perfons, 
even Trajan himfelf, endeavoured to revive the ancient virtue, and 
to recover the ancient conftitution ; yet all thofe endeavours were 
without fuccefs; or, at moft, were only lightnings before death: for 
corruption, in whatever kingdom (he has an opportunity to eftablifh 
herfelf, never quits her fituation, till, like the plague, (he leaves, 
not the traces of humanity behind her. 

The End of the Fifth Book. 




::i.l. I K<«M ORRERY'S PLINY, l"i. SHOWING PICTORIAL CHAPTER ENDING. 




PRINTED IS THREE COLORS 

BY THE COLORTTYPE COMPAX1 

W. KURTZ PKSSIDEM 




- 



BOOKBINDING: STUDY OF A PRACTICAL FRENCH BOOKBINDER. 1 



THE ROUTINE. 




communicated to us shows to 
what extent certain workmen 
are enslaved by the routine. 

One of our best and most 
artistic hand-gilders, desiring 
to annex a bindery to his 
establishment, applied to an 
excellent manufacturer of tools to furnish him, 
upon the best terms, with a complete and care- 
fully chosen outfit of the usual appliances and 
materials required by a bookbinder engaged 
only in artistic and library work. Everything 
was installed in a suitable locality, and it was 
only necessary to add a body of employees ( a 
picked one) to complete his establishment. 

He therefore selected a good workman, a fin- 
isher, a backer (for body work), and a workman 
perfectly well acquainted with the work of for- 
warding, sewing, etc. The backer was one of 
those old workmen who are, above all else, at- 
tached to their own habits, and on entering the 
workshop and looking at the array of beautiful, 
entirely new tools, heaved a sigh that might 
have moved a rock. 

The employer was surprised, thinking he had 
done his best, and asked the man what he 
thought of the outfit, directing his attention to 
the finish and the accuracy with which every 
one of the tools worked. "Yes, they are per- 
fect; some work may be done with them. How- 
ever, I do not know whether I could, in their 
condition, produce such careful work for you as 
I could with the tools at my disposal before I 
entered your service, and to which I was accus- 
tomed for a great many years. Ah, sir ! if 
you had consulted me before fitting out your 
workshop, I would have bought you some old 
second-hand tools which would not have cost so 
dear, and with which I could have been more 
sure of my work !" And then he added the 
trite paradox : " Believe me, sir, it is still in the 
old pots that the best soups are made." 

Imagine the old pot set on an old stove, to 
which a foot if nothing else is wanting, beside 
an old table with the old clouts; and, since we 

1 Originally written for the Revue des Arts Graph- 
iques, by Em. Bosquet. Translated into English by his 
personal courtesy. 



are at it, why not some old beef with old vege- 
tables, etc.? 

Oh, you who, having nothing else to do, have 
patience enough to read these lines, if it ever 
occurs to you to set up any kind of a workshop, 
and to buy your own outfit of tools, recall to 
your mind the old pot, etc. 

This bookbinder, one of our most renowned, 
having noticed that the material of the morocco- 
coverer whom he had employed for many years 
in his establishment, was becoming rather de- 
fective, said to him : " I notice that your dress- 
ing- ( or trimming- ) stone is very much worn out; 
I am going to order another, and a rather larger 
one; that will facilitate your work. ' ' The work- 
man thus addressed started, and, far from assent- 
ing to the proposition, protested that the stone 
was excellent, that he was accustomed to it, and 
did not desire to have another. 

"But," urged the employer, "it is so much 
worn that the place where you manipulate your 
knife is really dug into a hole. " " That does not 
matter; I am so accustomed to it that it facili- 
tates my work." "Ah, indeed ! and your knife ? 
I see that it is as much worn as the stone; and 
if you continue to use it, no matter how little, 
you will very soon dress up your leather with 
the handle." "I do not know, sir, what in- 
duces you to complain of me to-day (sic); no 
fault, however, can be found with my work." 
And, in fact, it was undeniable that the excellent 
man, excepting a habit he had of sometimes 
delaying his work, had a gentle, conciliatory 
disposition, and his intercourse was by no means 
disagreeable. He had by degrees accustomed 
himself to that hole, which had already served 
him more than one bad turn — a fact which he 
would have never confessed; he had dug it out 
little by little, and his hand became inured to it. 
Nobody else could have dressed any kind of 
material thereon, as he was eventually unable 
to make use of it himself. 

The routine, under more or less odd forms, 
is to be found in every branch of the trade, and 
as much, if not more, in the use of tools as in 
the work of hand ; we will endeavor to mention 
the most remarkable cases, following the differ- 
ent stages through which a volume has to pass 
in the process of binding. 



87 



BOOKBINDING: STUDY OF A PRACTICAL FRENCH BOOKBINDER. 



The first question that presents itself is that 
of the ' ' formats ' ' ( sizes i . Although the names 
and dimensions of these are theoretically and 
scientifically established in such a way that a 
good judgment renders them easy of conquest, 
it will be many years before their exact titles 
and dimensions are generally used, 1 as will be 
admitted by any one who is willing to study the 
question for a few minutes so as to demonstrate 
it to others who are interested in knowing. 

If we were dealing with a new science, with 
a recent discovery or with a new and more or 
less arbitrarily-established rule, it would not be 
the routine that we should have to blame, but 
rather those who, having established the rule, 
did not render it sufficiently intelligible to 
the mass of book-makers, as well as to the 
bibliophiles. But the names as well as the sizes 
of the ' ' formats ' ' appeared at the same time as 
the book itself, which is the result of dividing 
any sheet of paper into as many parts as is 
deemed suitable to form the signatures of which 
the book is composed. 

One of the oldest " formats " is that which is 
known by the name of raisin. It received and 
has retained this name ( which in French means 
4 ' grape ' ' i because the representation of a bunch 
of grapes was used as the water-mark for this 
paper, and the imprint was set upon it by the 
form employed in manufacturing. The word 
' ' format ' ' being derived from the form or mould 
in which the paper is manufactured by hand, 
the word "raisin" i the mark borne by the 
form i indicated the size of the form. It was, 
therefore, perfectly logical that the sheet of 
paper originating from this form should retain 
its name, in order to distinguish it from other 
papers growing out of larger or smaller forms; 
and hence, the name of "format-raisin." The 
sheet kept flatwise or in a plane received the 
name of " in-plano-raisin;" the same sheet 
folded in two equal parts was called " in-folio- 
raisin;" the same sheet folded in four parts, 
"in-4°-raisin;" folded in eight parts, " in-8°- 
raisin," and so forth, according to the number 
of pages of a book furnished by the sheet folded 
or cut into so many equal parts. Finally, cut a 
sheet of "raisin" paper into sixty-four equal 
parts, and yon have an " in-64°-raisin." 

It is the same with the eight formats or sizes 
of paper used in the French book-trade, and 
which, with some rare exceptions, are univer- 



sally employed. These are: the "Ecu," the 
" Carre," the " Cavalier," the " Raisin," the 
"Grand Raisin," the "Jesus," the " Soleil " 
and the " Colombier." These designations are 
generally known and employed by the printers, 
those who establish the form and size of the 
book ; why, then, are they not employed, or if 
employed at all only imperfectly, by the book- 
binders and the bibliophiles ? Such a method 
would be simple, logical, but — oh ! the old 
routine ! and they will tell you : This is a vol- 
ume in-8° ; this is a large in-8° ; this is an 
extra large in-8° ; this other is a small in-8°, 
and this a very small in-8°. Where do these 
fancy names begin and end? The}* are judged 
by the sight — the sight of your present inter- 
locutor, or by analogy with other volumes on 
hand ; others, not having the eye of your last 
interlocutor, or in the absence of similar terms 
of comparison, will give you entirely different 
information. Then they will tell you: Here is 
a " compact !" It will be thus named even in a 
price-current list, without their being able to 
tell what it means or why the name is given to 
the size of a book. 

Certain practices in use for preparing the 
book for sewing indicate how far the routine 
may be injurious, not only to the work, but to 
the book itself. The object of preparation for 
sewing is not merely to make the book ready to 
be sewn, but also — and above all — to preserve 
the first and last sheets from damage of every 
kind to which they are liable in the course of 
the binding. The modes of procedure differ in 
rather marked manner in the different work- 
shops. There are first-class houses which em- 
ploy excellent and more or less costly means; it 
is not necessary that we should name them here. 
We have, on the other hand, indicated the sim- 
plest means, which consists in surrounding the 
back of the two first and last signatures with a 
guard-strip, to preserve them, as well as the 
back of the blank fly-leaves. But most book- 
binders, before the book is sewn, put the blank 
fly-leaves on and paste over them the cover of 
the stitching, or any other more or less strong 
paper used as a guard, with a thread of paste 
two or three millimetres wide. 

The flats of the first and last leaves of the 
volumes, as well as the fly-leaves, are then pre- 
served from becoming soiled in any way during 
the process of binding. Admitting that this 



the Traiti thiorique ft pratique de Pari da 
rein at . chapter on " formats," page i". and those follow- 
ing, with a t.ibh annexed. We prepared and had 
printed, on strong Colombier paper, a table of the for- 



mat- used in tlu- French hook trade, with the exact 
nanus and dimensions established on the hoards of the 
bound or hoarded volume. Apply to the office of the 
Revue des Arts Graphiques, Rue de Fleurus. 9, Paris. 



SS 



APPLICATION OF HISTORIC STYLES TO MODERN BOOKBINDING. 



provisional pasting sticks fast during this time, 
it happens that after the volume is covered with 
the leather, etc., at the moment of detaching 
the guards, the blank fly-leaves are more or less 
torn on the side of the back, and, to cap the 
climax, the back of the first and last leaves also, 
when the paper is not very strong. We then 
see the workman smear the back of these leaves 
with flour paste, the latter spread on both sides, 






and what is the result of this botching? The 
fly-leaves, which were double, become single 
leaves, and the beginning and the end of the 
volume are not only illy secured, but also present 
the most deplorable effect to the eye. The 
routine will tell you : It is done much quicker 
in this way ; but it will be careful not to speak 
of the time lost afterward, and of the hodge- 
podge resulting therefrom. 

Em. Bosquet. 



APPLICATION OF HISTORIC STYLES IN ORNAMENTAL ART TO MODERN 

BOOKBINDING. 



RENAISSANCE. 



Copyrighted, 1SQ3, by Wm. M. Patton. 



We have now arrived at that period in which 
the products of all arts attained their highest 
development — the sixteenth century, the era of 
the Renaissance, when almost every artisan con- 
tained within himself an inexhaustible reservoir 
of art and originality, when in all branches of 
the arts and industries were manifested the 
most refined and unerring taste, the most har- 
monious sentiment, and the most inventive 
genius that ever influenced the course of epochs. 

The main and charac- 
teristic trait of this re- 
naissance period is, in op- 
position to the religio-mys- 
tic tendency of the middle 
ages, pronouncedly real- 
istic. Favored by events 
of such universal impor- 
tance as the invention of 
printing and the Refor- 
mation, a higher intellec- 
tual culture was every- 
where developed, and one 
which had no longer any- 
thing in common with the dry schematism of 
the Gothic period. The great intellectual in- 
heritances of the Greeks and Romans were 
entered upon ; the foremost minds of the period 
investigated and ardently studied classic art ; 
while, simultaneously with the progress thus 
attained, they endeavored to more profoundly 
comprehend and grasp the interchangeable ap- 
pearances of human life and nature, and to apply 
the results thus attained to all of their dailv 




ENAISSANCE CARTOUCHE. 



surroundings in the beautification of all things 
with which they came in contact. Thus, the 
Renaissance — the rebirth or renewal of the an- 
tique — was evolved in fullest splendor. It is 
the style of the classic epoch, rejuvenated, 
enriched and ripened by the vigorous elements 
of modern life, modern thought and modern 
research. The great transition from medieval 
art to the renaissance was effected during the 
fifteenth century in Middle Italy. An especial- 
ly rapid progress was 
made toward it in highly- 
educated, refined and ac- 
tive Florence, where, un- 
der the influences of the 
Medici, arts and sciences 
were fostered with un- 
usual care and profound 
enthusiasm, under their 
protectorate, decorative 
art was raised to a truly 
ideal standard, becoming 
enriched with all of the 
unlimited creative im- 
pulse, all of the great ideas, all of the wealth 
of knowledge and all of the great love for truth 
which the artists of that period, as men of broad 
culture and marked individuality, were able to 
bestow upon it. Is it surprising that under such 
circumstances ornamental art received a wholly 
new and enlarged character ; that it emanci- 
pated itself entirely from all architectural 
dominion ; and that it spread so rapidly over all 
objects of the industrial arts, covering them 



APPLICATION OF HISTORIC STYLES TO MODERN BOOKBINDING. 



with its newly-devised motives of indescribable 
grace and freedom? Those great artists and 
master craftsmen having a thorough knowledge 
of, and a complete control of, all art trades, were 
soon discontented with applying the customary 
decorative elements as left by their forefathers, 
and adopted a further and wider application of 
the human figure. This they interwove skil- 
fully into the scrollwork of the widely-used 
acanthus, connected it intimately with the orna- 
mentation by letting the foliage grow out of the 
body or the mouth of a human figure ; then 
allowed it to roll itself 
up in delicate flour- 



in 
ishes, which in their 
turn are again gathered 
up in their entwine- 
ments and branches by 
the hands of the figure ; 
or the figures grow out 
of flowers and petals in 
a most graceful and 
ingenious manner, or 
else clamber about the 
scrollwork in the guise 
of imps, genii and 
of winged amorettes. 
Famous artists, like 
Raphael, Michelan- 
gelo, Cellini, Bram- 
ante, Romano, Vignola 
and numerous others, 
whose names will shine 
forever as guiding stars 
upon the horizon of 
other domains of art, 
applied their master 
minds to the advance- 
ment of ornamental 
art and developed it to 
a splendor that has 
never been surpassed 
in any other period, 
either before or after 

them. This epoch of the renewal of antique 
art is also commonly designated as cinque-cento ', 
because its duration was from the beginning to 
the end of the sixteenth century. It exhibited 
in its sculptures and paintings the most glo- 
riously-displayed ornamentation of the period, 
and, spreading over all Italy, reached France 
under the reign of Francis I. and Henry II. 
Simultaneously with this advance it spread over 
all Spain and Portugal and, blending with the 
Moresque then predominant in those localities, 
and from which it appropriated numerous ele- 




KENAISSANCE CARTOUCHE. 



ments, grew into a peculiarly romantic and 
charming style. In its struggle for supremacy 
with the Gothic, the new style was carried on- 
ward in its triumphant march from thence to 
Austria, Germany, the Netherlands, and later, 
also, to England, when it reached its climax 
at the end of the sixteenth century and gradu- 
ally degenerated from the renaissance into the 
baroque, which finally led to the rococo. 

As new decorative elements, the renaissance 
introduced the cartouche, a framework of shields 
or medallions, with portraits or heraldic devices, 
resembling capricious- 
ly arranged straps of 
unrolled vellum, en- 
riched with flourishes, 
foliage, masks, etc. 
The nude framework 
of the cartouche blends 
most happily with the 
indented contours of 
the acanthus, with fig- 
ures, masks, ribbons, 
flowers, fruits, festoons, 
vases and all imagina- 
ble expedients of a 
charming and artistic 
fancy. Of all the 
foliage used in this 
period, the classic acan- 
thus was accorded the 
place of honor, on ac- 
count of its great flexi- 
bility, picturesqueness 
and general adaptation. 
This foliage, in all its 
elements strongly re- 
sembling nature, was 
like all good orna- 
ment simplified and 
artistically constructed 
and, with the elegant 
flourishes and contours 
which were given it by 
the great masters, grew to be the universal favor- 
ite, admired and affectionately regarded by all. 
Its elements consist of stalks, straight or 
curved, ribbed, fluted, reeded, twisted and 
spiral ; then of joints, leading to sheaths from 
which the stalks ramify or throw out leaves, 
and then, becoming more and more complicated, 
they assume the cup-like form of what are 
technically called nests, composed of many 
leaves from which shoot up the stalks and 
spirals which compose such a scroll as that of 
the Medicean pilaster. 



^S 



90 



APPLICATION OF HISTORIC STYLES TO MODERN BOOKBINDING. 



#? 



How advantageously this foliage can be util- 
ized upon bindings, an accompanying design, 
with monogram U. F. in centre, will show. A 
bold cartouche forms the centre of the ornamen- 
tation, while the remainder is covered with a 
symmetrical framework, intergrown with acan- 
thus foliage, which evolves at the lower half out 
of dolphins, and at the upper out of the mouth 
of a mask. I executed this design in incised 
leather, but it would be 
just as applicable for 
tooling, as all of the 
forms are greatly sim- 
plified in their contours. 
A geometrical border, 
composed of linear ele- 
ments, gives relief to the 
rich formation of the 
finely animated foliage. 
All of the classic bor- 
ders composed of linear motives were adopted 
in the renaissance — the cyma, ovolo, torus, 
flutes and dentils, scales, plait, zigzag, guilloche, 
money-string, beads, egg and tongue, quadroons, 
pearl-strings, meander and others — and were 
varied and multiplied in countless new combi- 
nations. That beautiful results can also be 
obtained in this style, an accompanying original 
design for Dante's "Inferno" shows. Befitting 
elements and motives from the sixteenth cen- 
tury have here been 
combined into a 
book-cover of very 
great adaptability. 

(Only the strictly 
first-class finishers 
need here apply. I 

It will hardly be 
necessary in this 
connection to men- 
tion the fine bind- 
ings which this 
period matured, as 
names like Grolier, 
Francis I., HenrylL, 
M ai < >1 i , and Canevari 
with others, which 
have left us their legacy in the form of hand- 
somely bound libraries, will forever ring with 
deserved popularity in the ears of our crafts- 
men. Besides, they have been treated according 
to my estimate of their proper deserts in my last 
essay written for PAPER AND PRESS on the 
" Development of the Art of Bookbinding." 

If, notwithstanding this, I offer a few illus- 
trations of renaissance bindings, it is because 




,Js v^ 



sy^^^^ 



RENAISSANCE CARTOUCHE 







REN VISSANCE CARTOUCHE 



the present work would not be complete without 
them. 

Let us ask ourselves wherein the great charm 
of these renaissance bindings is to be found. 
Does it reside in a fine and perfect workman- 
ship ? Does it consist in the application of deli- 
cate, harmonious colors — colors that have gained 
additional charms in being mellowed down by 
the influence of light and temperature to which 
they have been exposed 
during all the centuries 
of their existence ? Or, 
does it repose in the 
applications of rich and 
artistic designs — de- 
signs that were perfect 
as they in every detail 
were conceived by the 
master minds of their 
producers? Our answer 
must be, No ! There is no renaissance binding 
that has not been surpassed at the present day 
by skilled modern craftsmen in the point of 
perfect and painstaking workmanship, notwith- 
standing the cry that is constantly being set up 
against the products of modern enterprise by 
enthusiasts of the past. There is none, more- 
over, that has not been surpassed in the applica- 
tion of delicate, harmonious colors ; there is none 
that has not been equalled in rich, artistic de- 
sign. I ask, where- 
in, then, does theii 
great attraction con- 
sist ? Not in better 
workmanship, not 
in finer chromatic 
combinations, nor 
in richer designs; 
but it consists in the 
intensified variety 
of the ornamental 
elements, in prop- 
perly and finely pro- 
nounced contrasts, 
which have been 
attained by bring- 
ing into juxtaposi- 
tion two opposite qualities ; it is the source of 
vivacity, brilliancy and force. If a composition 
appears dead or monotonous in spite of all skill 
and richness of detail, you will know that it is 
wanting in contrast. What, moreover, can pro- 
duce a better contrast than delicate foliage and 
floral scrolls, climbing and winding through a 
geometrical framework, divided by and encom- 
passed within borders of linear motives? It is 




REN AISSANCE CARTOUCH K . 



92 




ORIGINAL DESIGN BY OTTO ZAHN. 



BINDING IN RENAISSANCE STYLE. SIXTEENTH CENTURY 



SOME RECENT AMERICAN INVENTIONS. 



this contrast that was so perfectly understood by 
the great binders of the past and that charms 
us even in their plainer creations to such an 
extent as to almost make us forget the deficien- 



cies of workmanship, the inexact miterings of 
the finisher, and the often deeply and irregu- 
larly impressed and burned stamps, upon which 
our vision falls with decided disappointment. 



Otto Zahn. 






^_ 



SOME RECENT AMERICAN INVENTIONS. 



The monthly record of patents issued in the 
United States exhibits little of specific import- 
ance or essential novelty. Such few devices and 
improvements, however, as have appeared, de- 
mand review. 

The Alden type-machine, which will be re- 
membered by our older readers, still continues 
to be the subject of experiment and attempted 
reconstruction. This machine, which was in- 
vented in 1836, and the original specification of 
which we have in our possession, was very com- 
plicated, and never reached a degree of effect- 
iveness which could be termed practical. 

The present patents have been accorded to 
Louis K. Johnson and Abbot A. Low, Brooklyn, 
assignors to the Alden Type-Machine Company, 
New York, which has evidently been rehabili- 
tated. The first covers a plurality of type-con- 
taining channels, one common platform for the 
types being attached and upon which are con- 
verging guide-walls. A type-forwarder is pro- 
posed, formed with a concave edge for contact 
with the heels of the types. A horizontal guard 
is arranged over the platform to prevent the 
types from turning upon their longitudinal axes. 
The forwarder is retracted to its normal position 
by automatic mechanism, and is operated by 
means of a finger-pull with trigger handle. 

The second patent, applied for two months 
later, modifies this by using a reciprocating 
type- forwarder, consisting of a plate of less 
thickness than the width of the types; this plate 
is formed with ribs which increase the thickness 
of the plate beyond the width of a type, the 
front edges of the ribs being inclined and end- 
ing back of the front edge of a pusher-plate. 
Under the action of the compositor's fingers the 
push-bar would release a spring pawl while 
grasping the previously advanced types for re- 
moval, operating automatically to repeat the 
operation. 

A M u 111 m; for making paper boxes has been 
invented by Ilenrie I). Stone, Boston, and 
Charles Thibodeau, Somerville, assignors to 
Janice S. Newell & Co., of the former place. 



The mechanism has folding-plates for the ends 
and sides of the box, located in different hori- 
zontal planes, a paste-box, with supply ing-rolls, 
and a movable plunger having independently 
movable wings extending laterally from its ends 
to carry the tabs of scored stock into contact 
with the pasting-rolls and bend the tabs at right 
angles to the sides. Briefly speaking, the ma- 
chine comprises platen-presses movable toward 
and from each other in a plane opposite the 
lowermost position of the plunger and below 
the lower folding-plate. 

A machine for making and printing envel- 
opes is the invention of Charles A. Teal, Holy- 
oke, Mass., who assigns to the Holyoke Envelope 
Company. The mechanism takes the paper from 
a roll, and converts it into finished product, the 
printing mechanisms constituting intermediate 
features of the operation. It would require too 
much space to describe the machine, which evi- 
dently possesses great practical value. 

Philip Vandenburgh, Cleveland, O., pro- 
poses a dry adhesive paste, and patents the pro- 
cess of manufacture, etc. He first mixes the 
flour and water to make a dough; then ferments 
this dough until it becomes sour and most of its 
albuminous constituents are decomposed. He 
then cooks the fermented dough at a low heat 
and evaporates the moisture therefrom, conclud- 
ing the operation by pulverizing the resultant 
product. 

An envelope is the invention of Charles M . 
Carnahan, Newport, K\\, in which the end flap 
combines with a strip of metal having two tangs 
passed ontward through the body portion of the 
envelope. One of these tangs is passed through 
the flap and compressed downward thereon 
toward its point, while the other tang is com- 
pressed and bent upward, overlapping the point 
of the flap when closed. 

The invention is another to be added to the 
already large number of such devices. 



M 




ORIGINAL DESIGN BY OTTO ZAHN. 



BINDING IN RENAISSANCE STYLE. SIXTEENTH CENTURY 



DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING. 



METHODS AND REMAINS OF EAREY PERIODS. 



Paue Adam is well known among European 
binders, and especially those of Germany, for his 
contributions to the technical literature of the 
art, and the appearance in the Buchgeiuerbeblatt 
of a series of articles, which ran through several 
numbers of that enterprising and interesting 
European contemporary, affords us an oppor- 
tunity to present some results of his research 
within a very fertile department of bookbinding 
to the members of the craft in the United States. 
The illustrations accompanying his article have 




COLOGNE ART-INDUSTRIAL MUSEUM. 



IMPRESSED PATTERN, PREVIOUSLY TREATED WITH PATRONEN 
(PROBABLY G. C. STOY, AUGSBURG, COLOGNE, ETC.) 



been reproduced, and its text rendered into 
English as faithfully as sense would permit : — 
The bookbinding industry of the present day 
can no longer be contemplated without the 
mental images of a multitude of embossed and 
printed papers arising, and one finds himself 
concluding that the interior and exterior of a 
book in former times must have been very 
dreary and uninteresting without such adju- 
vants. That such was not the case, however, 
all collections of bindings and all ancient libra- 
ries will demonstrate, these latter further evi- 



dencing the fact that all colored papers of the 
present are, indeed, but cheaper and simpler 
substitutes for the leathers and w r oven stuffs 
formerly utilized for the purpose. 

The oriental workman — as long as we do not 
extend our inquiry into Eastern Asia — used 
paper upon his book-covers only to the most 
extremely limited extent, and then, for the col- 
ored foundation of his broken decorative work 
alone. Not until after the Western Hemisphere 
began using paper for bindings did the Orient 
adopt the same prac- 
tice, and, as the pro- 
ductions of the latter 
commenced retrograd- 
ing, so far as technique 
was concerned, at the 
same time, the bindings 
of that period have lost 
in value to such an ex- 
tent that they cannot 
be compared in any 
adequate manner w T ith 
former productions. 

We can state with 
certainty that colored 
papers were first intro- 
duced at a time when 
paper itself was manu- 
factured in large quan- 
tities — the period o f 
one of the greatest 
inventions which our 
modern history has to 
chronicle, the inven- 
tion of the art of book- 
printing. We may not 
say that these colored 
the progress was one of 
slow development in connection with the use 
and manipulation of similar substances. Of 
this we know very little; standard publications 
which deal with the subject do not exist, but the 
very modest beginning here made as an experi- 
ment convinces me that materials will soon in- 
crease for more extensive research. We will not 
need to go very far back, and besides it is natural 
to infer that colored papers of the earlier periods 
are everywhere to be found, owing to their 
extensive utilization. As up to the present, 



papers were invented 



96 



DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING. 



however, not considering the small quantity of 
such remains in public and private collections, 
the material for investigation has been wanting, 
it has been doubly difficult for me to begin, and 
I offer the following solely in that light. To 
this reason is to be ascribed my hesitancy in 
offering dates, and such can only be substantiated 
by a methodical search through the books 
of old trades-unions. Such matters as could 
be treated broadly and technically have, I 
hope, been dealt with to the exclusion of 
error. Let me trust that the restriction of 
my research to the papers in the Cologne 
and Diisseldorf Museums, and to a small 
private collection, will not militate against 
the weight of the present article. At present 
more material would be useless, the amount of 
comparison and investigation already neces- 
sitated by the materials at my service being so 
laborious and extensive as to require much 
space were the collection of specimens very 
voluminous. 

Leather tapestry and woven fabrics preceded 
colored papers, the woven tapestry 
being accepted as older than that of 
leather, upon the basis of ancient 
technology. If we are to include the 
woven fabrics and rugs which were 
used as wall coverings, this assertion 
may be correct; but as an indepen- 
dent tapestry, industrially produced, 
leather tapestry must be regarded as 
the oldest. Without doubt the latter is of 
Arabian origin, and was a development from the 
stamped leather covers always to be found in the 
interiors of Arabian and Turco- Arabian bindings. 
An identical technique, and very similar patterns 
to those noticeable in the small sections of such 
leathers are found, considerably enlarged, in 
the older uncolored leather tapestries. These 
book-interiors were evidently stamped or printed 
with wooden models cut to the size of ten centi- 
metres in every direction, according to dimen. 
sions of the pattern to be repeated. As the sheep- 
skins and goatskins thus used have been worked 
out so exceedingly thin by hand that with all 
our machines we may not equal them, and as 
we are able to measure the considerable size of 
the uncut skin by observing the repetitions of the 
pattern on the leather, we are forced to con- 
clude that the production of such leathers must 
have been a special branch of manufacture. 
Hence, this leather was undoubtedly used for 
other purposes, such as the inside coverings of 
boxes, etc. While I have no further proof, I am 
convinced of the validity of the statement as 



made. Upon the other hand, it is also possible 
that patterns employed in printing fabrics were 
either used by the leather-printer or else sepa- 
rately produced for the latter by other makers. 
The only colored paper that I know of in 
connection with very early bindings is to be 
found on oriental bindings, and it is mono- 



Mn3/r&mwzpZs 



myj&xm* t 



FIG. 4. 

chrome, either brown or apple-green. Its entire 
character denotes it to be of oriental origin. 

A decoration much in vogue on colored as 
well as uncolored papers was effected by the 
spatter process. By filling a brush with pig- 
ment and then rubbing the finger or a small 
stick against and over the bristles, a fine colored 
spray was projected upon the surface, similar to 




FIG. 8. 

modern spatter painting with the screen or sieve. 
In the majority of cases gold and silver were 
the colors sprayed on in this manner, many 
oriental miniatures also exhibiting this species 
of simple decoration on environing borders. It 
was always the interior of the book-cover that 
was so decorated, never the outside, for in those 
days paper was mainly used in the unimportant 




FIG. 5. 

portions which were not subjected to much hand- 
ling, and which hence did not show the wear. 
In Turkish binding colored paper was used 
with much success, the paper having an appear- 
ance of a delicate, open-worked leather, stamped 
and gilded, and resembling filigree. This 
covering was so made that a network of sym- 
metrical fields included finer ornaments. An 



97 



DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING. 



equally large surface, corresponding to the forms 
of these fields, was colored by means of a model, 
so that while constituting the basis of the 
leather pattern, isolated parts were given a 
differently colored ground. 

I will subsequently show that this art, which 
can be traced with certainty to the fifteenth 
century, was imitated in the Occident, naturally 
with other tools and not in the same artistic 
manner; we thus have, in the oriental book-in- 
terior, the first and most beautiful forerunner of 
colored papers. 

With regard to marbled papers used in later 
works, I am in doubt as to whether they are of 
oriental or occidental origin. As a general 
thing these papers bore large marbled patterns 
in dead colors, such as are known at present as 
' ' vanda-marble. " It is regretted that the dates 
of many of these oriental bindings must remain 
unauthentic; the figures usually given are based 
upon the statements of collectors and cannot be 
vouched for, nor can the}- be verified when 
specimens prior to the sixteenth century are in 
question. I believe that most of the types of 
these papers now owned and in the various col- 
lections are of less age than the collectors and 
dealers themselves have 
led the owners to believe. — — — ^— — 

It is certain, however, 
that the invention of book- 
printing exercised the very 
greatest influence upon 
both paper-making and 
paper-decorating, and although wall-papers did 
not come into existence until much later, the 
leather tapestries and printed fabrics had their 
effect in developing the production of colored 
papers. The introduction of large presses into 
the printing and binding industries — especially 
the old form of presses — tended toward the pro- 
duction of large impressed surfaces, and when 
the stamped bindings from large engraved wood- 
cuts and metal plates came into vogue, the bin- 
der had at his hand all of the tools needful for the 
production of colored papers. That this really 
occurred in the way hinted at (the manner also 
being included in which it was accomplished ) is 
shown in two small jewelry boxes in the Art- 
Industrial Museum at Diisseldorf. Both are of 
wood, in the usual trunk shape of the time, and 
are covered with paper; this latter is colored 
and stamped in gold by means of a block, the 
same as was used for binding in the latter half 
of the sixteenth century. The single ornaments 
of the border around the plate are printed in 
different colors; this, however, was accomplished 




FIG. 9 



before the printing in gold, and not afterward. 
The remarkable feature of the work is that the 
plate used in decorating the box is also used in 
decorating a pigskin binding in the same collec- 
tion. The small border on the lid of one box 
is covered with the paper on which the book- 
binder had previously printed one of the rolls 
in gold. 

In this way larger blocks have been also 
stamped upon sheets. 

Most of the patterns, and the most beaiitiful 
papers of this kind, were produced in Italy ; I 
have, however, restricted my work to German 
material, the specimens at my disposal consist- 
ing mainly of such productions. 

I am not certain wdiether impressed prints 
preceded the stamped papers or not;' common 
sense would point to such a conclusion, and 
yet, papers of this kind are not often found; 
most of those at my disposal, so far as they 
are not classifiable among the group of cotton 
papers about which something will be said, 
are of a later period. A very beautiful little 
piece lies before me, printed on gold paper 
in such manner that a delicate ornament in gold 
remained. Judging from appearances it must 
have been an able German 
'■ master who engraved the 

block; each blossom in 
itself is an artistic concep- 
tion, but it evidently be- 
longs to the second half of 
the sixteenth century. A 
very pretty impressed print, perhaps of a little 
later period, is marked: Ritter Scu( lpsit ). This 
sheet was evidently printed in one color, which 
after a time was covered w T ith bronze, as some 
traces of the latter still remain. Otherwise the 
printing color has a grayish-brown tone and is 
not a varnish color. 

Without proceeding further into the tech- 
nique, I wull give a brief resume of these simple 
processes, in order to afford a general view of 
the matter. The simplest and oldest paper is 
the monotint striped paper, which could be 
decorated either by spatter process or by laying 
on the colors with a brush. Gold paper may 
be counted among the monotint papers. The 
leaf-gold was applied upon a yellow- or red-col- 
ored ground before the latter had fully dried. 
The monotint paper also became a basis for all 
later papers printed from the woodcut block. 
Woodcut blocks were colored with glue and 
paste colors | sizes |, using a color-bag, and were 
printed off on the paper. Old works of this 
kind have evidently been printed from the 



98 



a 



^ 



L^, 



^1 



3 



m 



U 



i(5f 



WT4 



pB^jjj 



IG. 6 



FIG. 7 




COLOGNE ART- INDUSTRIAL MUSEUM. 

MG. 13.— COPPBR ENGRAVING UPON GOLD PAPER. 



DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING. 



block while the latter was lying on the table; 
the paper was placed upon this, and then taken 
off again. In the place of one block, several of 
them could be printed over each other, so that 
one color completed the other; in this manner, 
the multicolor impressed print originated and 
was developed. 

The stamped print was contemporaneous with 
the impressed print; engraved metal plates were 
stamped into the paper with varnish colors, 
in a heavy press, and the print Avas afterward 
covered with leaf-gold, leaf-silver, or metal. 
Bronze came into use much later, presumably 
about the seventeenth century, being dusted 
upon the varnish print. Judging from the con- 
dition of some papers, we can say with certainty 
that the pressing of hot metal plates into a sur- 
face covered with leaf -gold was known as early 
as the sixteenth century; this process resulted 
in some of the most beautiful productions of the 
day. Stamped papers could be varied in this 
way by painting single fields, single flowers, 
leaves, etc., on the uncolored paper underneath. 
This was done with cut paper patterns, called 
1 ' patrones. ' ' This process was carried out be- 
fore the stamping. Completing-colors, or cer- 
tain fine detail, could also be printed with the 
woodcut block, on paper painted and stamped 
in this manner. 

The introduction of these patrones led to the 
making of paper treated in this manner alone; 
several patrones were applied over each other in 
the same way that several blocks were super- 
imposed. The papers were not nearly so beau- 
tiful, however, and indicate a retrogression in 
the eighteenth century. 

A change in the plainly striped papers is 
found in a large group of pasteboards. Until the 
first years of our century these were made by 
the binders themselves, the simplest means 
being used in their production. When two 
sheets of paper are covered with colored paste, 
placed with the colored sides against each other 
and then pulled apart, a peculiar marbled effect 
is produced, known as paste-marbling. By 
applying a sponge which may contain color, or 
by the previous application of different colors 
to the paper before separating, variations may 
be produced. Those papers falling into the 
class of cloud-marbled papers are more com- 
plex. On a paper thus treated, but which has 
not been pulled off, one can produce waves, 
clouds, bows, etc., by wiping with the fingers, 
with pointed pieces of wood, or with short 
combs with three or six teeth. Judiciously 
applied, pretty patterns are produced in this 



JO) 



DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING. 



manner, which bear a resemblance to under- 
glaze painting. 

After the paper had been treated in a corre- 
sponding manner small dampened stamps and 
even entire designs were impressed in this fash- 
ion, which also leads us to conclude that a 
manufacturing industry existed in this branch. 

Another technique of the last century, de- 
serving of mention and mainly employed by 
bookbinders, being related to a similar treat- 




DUSSELOORF ART-INOUSTRiAL MUSEUM. 

FIG. 14. — INTI.KIOK OF A PERSO-TURKISH BINDING OF Till-: KORAN 

tnent of leather, was known under the names 
of maser-paper, leather-marble, tree-marble and 
fire-marble. Bach of the foregoing titles stands 
for a certain kind of paper, the treatment being 
carried out on the same lines. Monotint paper, 
mostly brown, was dampened and then placed 
in an oblique position UpOt] a board. A few 
drops of color, to which a few drops of ox-gall 
had been added, were sprayed upon this with a 



bristle brush; this ran down in streaming veins, 
which afterward combined with other veins 
to form a marbled effect. This process, when 
executed with the sheet stretched flat on a piece 
of pasteboard and the ends of the latter bent a 
little upward, so that the veins ran together in 
the middle, produced tree-marble; if the sheet 
was grounded with pernambuca solution or 
cochineal extract, and afterward treated for 
marbling, the fire-marble was produced. Several 
colors were also sprayed 
on to produce effects. 

The entire art of mar- 
bling evidently originated 
from the simple splashing 
in large drops, just as at 
present a great many pa- 
pers are manufactured 
that are treated with 
splashed colors, the latter 
being principally lye-col- 
ors. To this class belong 
all agate and Gustav mar- 
kings, and also the phan- 
tasy and carrara marbled 
effects. To the oldest col- 
ored papers — where these 
originated has not yet 
been discovered — belong 
the marbled papers; it is 
the most used and will 
presumably always re- 
main in use. As early as 
the oriental books of the 
sixteenth century, mar- 
bled paper is found; it is 
perhaps the only colored 
paper that was, properly 
speaking, invented, as its 
production is based upon 
particular chemical pro- 
cesses. Colors having a 
little ox-gall added were 
sprayed on striped paper 
and floated upon the 
ground, and, according to 
the mass of the gall solu- 
tion, ran together to form veins. The color- 
layer thus formed was transferred by laving 
on a sheet of paper and repeating the pro- 
i'css anew. The color-layer was varied by 
applying a point, comb, etc., and the different 
patterns bear their own names. Single-color 
combinations were also given special names 
by the makers. The completed papers were 
given a certain finish by smoothing, applying 



DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING. 



gelatine and varnishing. Until the second half 
of the present century, only the smoothing 
operation was known; as long as the bookbinder 
made his own papers, he smoothed them with 
the hot smoothing-tool. This was done as far 
back as 1550, and was still used in the present 
century. Tooth-smoothing was only used in 
extensive manufacturing, but is found as early 
as 1660, and remains in use now for all better 
grades of colored papers. Models and impress- 
ing are no longer used; the lithographic press 
and roller give us patterns which meet all de- 
mands. 

Let us now speak of the various periods and 
kinds of papers used. As has been said before, 
the colored paper, up to the beginning of the 
seventeenth century, was a plain, striped mate- 
rial, and was not used in the book-trade, with 
the single exception of the colored paper-ground 
already spoken of, which was used in Turkish 
works of an essentially religious character. 



controlled the colored-paper manufacture, and 
the makers of the latter are always spoken of 
as bookbinders in the records of the trades- ' 
unions. 

As pigments, earthy colors were used, or else 
very rich sap colors (kurkuma, yellow wood, 
pernambuca wood, indigo, etc.). Animal glue 
was used for binding purposes in the Western 
Hemisphere the same as in the Orient; not until 
about the time when they commenced making 
( in addition to the gold-pressed papers already 
spoken of ) colored papers with paste-colors, do 
we find a ground of paste-colors under the gold 
printing. To the experienced eye the paste- 
color is easily known from the glue-color, as the 
former can never be uniformly applied. The 
glue-colors, however, could be laid on without 
fault, especially as they could be afterward 
smoothed out with a brush adapted for this pur- 
pose. (At present the entire work is done with 
machine. ) 




f^UjWGSP • ^BEV* CEORG'CHRISTOP. 



COLOGNE ART-INDUSTRIAL MUSEUM. 

FIG. 12. — (FIG. 2-12), HOT PRESSED BORDER PATTERX, G. CHRISTOPH STOY, AUGSBVRG. 



In the seventeenth century- a new idea sprang 
quickly into life from a beginning having no 
connection whatever with the book-trade. Con- 
fectioners' colored papers, printed in gold and 
also used for toys and paper-boxes, were used in 
Nuremberg for packing purposes; these papers 
possibly originated out of the colored and 
painted-up woodcuts used at the time in Ger- 
many for the decoration of boxes and small 
jewelry-cases. 

In those times it was a usual thing for all 
trades to employ the different techniques which 
might benefit their interests. The bookbinder 
split his covers with the hatchet from the block 
of wood, cut them with the saw and knife and 
then planed them smooth, himself. He made 
the plain metal end-pieces, and, above all, pro- 
duced his own colored papers. As a fact, even 
at the beginning of this century, bookbinders 



It appears as though the most extended and 
practical manufacture of such gilded and im- 
pressed papers first came into practical use in 
Augsburg, then in Nuremberg, and also to a 
small extent in Fuerth. With regard to the 
beauty of the pattern, the clean cut of the 
forms and the entire technical execution — as 
far as I can judge from the specimens at hand — 
the Augsburg productions seem to have been the 
best. It will be some time before we are able to 
designate the individual masters by name (we 
may not term them manufacturers), and to 
classify their work upon a basis of extant pat- 
terns. Some of the Augsburg masters have had 
their names cut into the edge of the models, 
many of which they had in use at the same 
time. With regard to patterns which are un- 
marked — as far as the}- may be found — it will be 
difficult to discover the makers. 

Paul Adam. 



103 



As A matter of interest we would remark 
that the coated book-paper upon which this 
souvenir is printed, and the cardboard used for 
the cover, were made by the A. M. Collins 
Manufacturing Company, of this city. 

Among the cherished bits of legendary epi- 
sode which are indissolubly linked with the 
great natural park contiguous to Philadelphia, 
that which purports to chronicle an incident of 
the early aborigines is deeply interesting. Along 
the laughing Wissahickon are many spots which 
teem with living memories, and one, especially, 
is imbued with vivid and tragic associations. On 
the east bank of the delightful stream, at a cer- 
tain portion of its irregular course, stands a cu- 
rious, arch-shaped rock, of which the following 
details are narrated to the visitor. This rock, 




- 



known to the inhabitants of our city as " Indian 
Rock," marks the site where early Indian coun- 
cils formulated the unwritten laws which gov- 
erned the children of the forests. Here the 
famous chief Tammany assembled his braves for 
conference, and, upon the ist of May, addressed 
them from its rocky summit. Peace to the white 
men thus became a surety, and the inviolable na- 
ture of that peace is well attested in our annals. 
Upon such an occasion as this, a member of his 
band, the young Cannassatego, who had become 
enamored of the young squaw of the chief, asked 
her hand in marriage, and, on being refused, 
leaped from the rock to his death. The en- 
deavor of the girl to join her lover in the happy 
hunting-grounds is also told, and it is further 
added that her action was prevented by the old 
chieftain himself. 

Opposite to the Indian Rock, on the historic 



Monastery Bluff, upon the west bank of the 
Wissahickon ( or Catfish Creek ) , stands the hos- 
telry, which, for twenty-five years, has been re- 
nowned as the road-house, par excellence, for 
riders and drivers. Nearly ever}- Philadelphian 
knows the spot and has partaken of its hospital- 
ity; no locality in Fairmount Park has such at- 
tractions for a hungry driver as are possessed by 
the Indian Rock Hotel. Winning its early 
reputation for a genuine Wissahickon (or cat- 
fish) meal, it has attained recognition as one of 
the popular roadside resorts of the city. That 
the conduct has always been in every way first- 
class, is well guaranteed by its past history. 

Four years ago, the hotel passed into the man- 
agement of its present proprietor, Charles Wein- 
gartner, formerly with Delmonico, New York 
City, and late superintendent of the Hotel Du- 
quesne Company, Pitts- 
burg, Pa. Since that 
time, the house has been 
greatly enlarged and re- 
modelled and furnished. 
A spacious banqueting- 
hall is one of the new 
features, and its cuisine 
has been extended from 
catfish dinners to all 
the delicacies of the 
market. The hotel is a 
veritable " Delmonico's," 
and is but nine miles away 
from the Public Buildings. 
Delegates will have ample 

J opportunity to pass upon 

its qualities as a high 
class hotel, situated in a 
very picturesque and very historic locality. 

A machine for addressing envelopes and 
wrappers is ascribed to Charles A. Belknap, New 
York, wherein perforated address cards are 
used. One card after another is fed into the 
lower end of guide-ways, above which is 
mounted a platen provided with an opening 
corresponding to the size of the cards. An im- 
pression-block oscillates above the platen, at 
both sides of which rotary feed aprons are fixed, 
the pile of envelopes or wrappers being fed to 
the conveyor-aprons by suction on the foremost 
envelope. The depression of the impression- 
block prints the address, ink being supplied 
meanwhile to the under side of the perforated 
address-card below the platen. The printed 
envelopes or wrappers are fed forward as fast as 
finished. 



lo.J 



A. M. COLLINS 



MANUFACTURING 



No. 527 ARCH STREET, 
PHILADELPHIA. 



COMPANY 







• MANUFACTURERS OF 



CARDBOARDS. 



coated Book paper 

AND 

COATED I/\BEL PAPER 



105 




TRADEMARK 



TRADE MARK 



CUNNINGHAM, CURTISS & WELCH, San Francisco, Cal., 
Agents for the Pacific Coast. 

AMERICAN PAD AND PAPER CO., Holyoke, Mass., 

Carry in stock " Magna Charta Bond" Tablets. 

W. H. HILL ENVELOPE CO., Worcester. Mass., 

Carry in stock "Magna Charta Bond" Envelopes 
in three weights and all sizes. 



" ' M — — ■-- - - - -— ~ ■■' 




TRADE MARK 

HI l*IIL 



5c5c5c5c5E5a5S5cH5c5E5E5E5ra5c!£5ra^ 




M&<1M& ©IKI^^m ©@K)® 



FAC-SIMILE OF WATERMARK. 








TRADE MARK 





FIRST-CLASS 
BOND PAP6R 

Manufactured by 

P lV€RSIP€ PAPER CO 

HOLYOKE, MASS. 

Made from New Rag Stock, free from adulteration, per- 
fectly Sized, and with a long and evenly-beaten Fibre. 
A Bond Paper as carefully made as our Magna Charta 
Bond will last forever, and this is a most important 
consideration in papers cf this kind. 



TRADEMARK 






TRADE MARK 



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TRADEMARK 



1 06 



Oft and oft, the question has been made, 
' who first of all 'set up • the printer's trade \ 
decision yet is still unheard, 
Twixt Caxton, Koster, Gutenberg ; 
to whom belongs the greater praise 
has not been settled in these days. 



WHATE'ER THE ISSUE IN THIS MATTER, 
WHATEVER THE OUTCOME OF THIS CLATTER, 
WHATEVER THERE IS TO CAUSE A DOUBT--- 
TlS NOT OUR WISH TO STRAIGHTEN OUT; 
BUT ONLY THAT THEIR SONS MAY STAND 
FN TYPOTHE1AE A UNITED BAND. 




V//(7Yfo 






F. D. MAXWELL 
D. D. ENGLE 

H. REIMOLD 



PRINTERS 

DESIGNERS 
EMBOSSERS 
ENGRAVERS 



THE COVER OF THIS SOUVENIR 
WAS MADE BY US 



Perfection •=• Envelope. 





MM 



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Don't 



ink 



You know that when you lick 
the gum off your Envelope you 
remove that which was put 
there to stay ? Then why not 

Clean, smooth paper, and get 
rid of that sickening taste which 
is always experienced after lick- 
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The Rum 



n« 



Your- 




Anv More 



Off the old-fashioned 
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is unwholesome, very 
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Tongue, or the idea of 
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removed. We have in- 
troduced the Perfec- 
tion 

Gummed in the proper 
place, filling a long-felt 
want, and which will 
not cost you 

Than you are now pay- 
ing for the privilege of 
licking the gum off the 
old-style Envelopes. 



WOLF 
BROTHERS, 

Manufacturers 



of 



Envelopes 



and 



Papers, 

606, 508 and §10 

Minor St., 
Philadelphia, Pa. 




^UiiRSOFHlfflGRADE 




No doubt you believe in the theory that the best is always the cheapest in the long run. 

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We Manufacture a Choice Line of TYPEWRITER PAPERS 

These papers are made from specially selected stock adapted for the making of Typewriter Papers. 

Stationers will find this line superior to anything in the market. 

This Paper is put up in artistic boxes or wrappers, specially made for our line, 500 sheets to the ream. 

All regular sizes and weights in all of the above Papers are carried in stock at all times, so that orders 
may be filled promptly. 

Specialties are what we delight in ; and when in want of anything out of the usual run, we shall be 
pleased to show you what we can do. Samples cheerfully furnished on application. 



^ 



Z2L 



HAMPSHIRE PAPER 

SOUTH HADLEY FALLS r MASS.,U.S.A 



S3=^ 



THE 



WE STAND ON MERIT ALONE. 



HUBER 



Crank Movement, 



Improved Two=Revolution 

Job and Book Press. 

Doable Rolling. 
Single End. 
Six Four-Inch 

Face Tracks. 
Box Frame. 
No Springs. 
Front or Back 

Delivery. 

UNEQUALLED BY ANY TWO-REVOLUTION PRESS IN 

IMPRESSION, REGISTER, DISTRIBUTION, SPEED AND LIFE. 

The Huber Presses are used by the representative houses of this country, who will substantiate 
all we claim for them. Send for descriptive circulars of our Sheet-Perfecting Book Press, Two- 
Color Press, Two-Revolution Job and Book "Crank Movement" Press, Two-Revolution Job and 
Book "Air-Spring" Press, and Two-Revolution "Mustang" Rapid Jobber "Crank Movement." 




SIZES. 


DIMENSIONS, WEIGHT AND SPEED. 


No. 


Rollers 
eov'g en- 
tire form. 


Bed inside 
bearers. 


Matter. 


No. 


Length 
over all. 


Width 
over all . 


Height 
over all. 


Weight boxed. 


Speed. 


I 

I 

2 
2 


4 
3 
4 
3 
4 
3 


44 x6oin. 
48 x 60 in. 
37 x 57 in. 
41 X57in. 
37^ X52 in. 
41% X52in. 


4°^ X56in. 
44^ x 56 in. 
34 X54in. 
38 x 54 in. 
31 xaSin. 
38 x 48 in. 


1, 4-Roller 

1, 3-Roller 
1%, 4-Roller 
1%, 3-Roller 

2, 4-Roller 
2, 3-Roller 


15 ft. 

15 ft. 8 in. 

13 ft. 6 in. 

14 ft. 2 in. 

13 ft. 6 in. 

14 ft. 2 in. 


9 ft. 3 in. 
9 ft- 3 in. 
8 ft. 7 in. 
8 ft. 7 in. 
8 ft. 7 in. 
8 ft. 7 in. 


6 ft. 4 in. 
6 ft. 4 in. 
5 ft. 5 in. 
5 ft- 5 m. 
5 ft- 5 m. 
5 ft. 5 m. 


About 8% tons 

:: & :: 

" 8 

:: & " 


1 100 to 1500 
icoo to 1400 
1300 to 1800 
1200 to 1700 
1300 to 1900 
1200 to 1S00 



We Furnish with Press: 
Counter- Shaft, Hangers, Cone Pulleys, Driving Pulleys, Two Sets of Roller Stocks, 

Wrenches, Boxing and Shipping. 



Van Aliens & Boughton, 



59 Ann St., and 17 to 23 Rose St., New York. 



256 Dearborn St., Chicago, 111. 



H. W. THORNTON, Western Manager. 
107 



Iru/ii? Jl /T\e^a r^ee Qd. 



^§^? 







i4^K 



Philadelphia. 



ioS 



liiiiiiiiiiiwiiiirf 

'.n,m.„,i.|,ii|lil^ 




THE BEEBE S MOLBROOK GO. 

Holyoke, Mass., U. S. A. 

Established in 1871. £$$> 

Product, 9 tons per day of High-Grade 
Loft-Dried Papers. 

Sole owners and manufacturers of the following well=known brands 
of papers : 



v^v^w*^v^w>^v>^^ww^^^^^^^^^ 



Keen<? /Wills — Sup^rfin?, 
Chesterfield — Fine. 



WW 



& 



Saxonv) Lnnen. 
Genuine Flax. 
Celtic ledger. 
Capitol ledger. 
Government FJ or, d. 
Old Hem pstead Qond. 

• • • ALSO • • • 

No. 1 Colored La id and Wove Flats. 
No. 1 White and Tinted Weddings. 



A/v^A^v^A/wwvwsA*/wv^^^AA*^AfVWSA 



We Invite your correspondence and we will be pleased 

to submit samples. 



G. B. HOLBROOK, Pre 



A. \\\ KSLKKCK, Trea.- 



First=Class 
Workmanship, 



. THE 



Unsurpassable 
Facilities. 



♦♦♦♦♦♦ 




C0RNER=ST0NE3 OF OUR SUCCESS, 




Burk & McFetridge Co 



PRINTERS 



LITHOGRAPHERS 



♦♦♦♦♦♦ 



Printing of 
Every Description. 



^^PUBLISHERS, 



306 and 308 Chestnut Street, 
PHILADELPHIA. 



Illustrated Work A Specialty. 




. . . THE CORNER-STONES OF OUR 



IS 



♦♦♦♦♦♦ 



Equitable 

Dealing. 



SUCCESS, 



Reasonable 
Prices. 



109 



Edward Stern & Company 



INCORPORATED 



PRINTERS OF 
ii 



PAPER AND PRESS" 



S 



PECIALTIES 

The Making of Fine Catalogues 
Printing of Art Works 
Embossing 



1 1 2- 1 14 North Twelfth Street 
..Philadelphia.. 



..ESTABLISHED 1870.. 



10 




Printers' Supplies 
Warehouse. 

WE CARRY IN STOCK AND MAKE TO ORDER 
EVERY DESCRIPTION OF 

Book, News and Cover Papers 
Ledger, Writing and Job Papers 
Ruled Commercial Headings 
Wedding and Family Stationery 
Cardboards and Cut Cards 
Envelopes, all sizes and colors 

AND EVERY KIND AND 

CHARACTER OF MATERIAL REQUIRED FOR TYPE, CUT 

AND LITHOGRAPHIC WORK. 



CORRESPONDENCE SOLICITED. 



The Thos.W. Price Co. 

503=505 Minor Street, - - Philadelphia. 



The "Granston" Press 



SERIES 

TWO-REVOLUTION— Two and Four Roller 
Cylinder— Patent Improved 

Commercial 
Book and News 
Improved Newspaper 



The Cranston Printing Press Co. 



NORWICH, CONN. 



CHAS. M. STOEYER fe CO. 

Oprir)^ Grove Paper Mills 




acburers ar)d 




Wt)olesal 


e Dealers ii) 




S. S. & C. ai)d 




-M.. r . Book Papers 


^ 

^ 


volored iVlecliuir)S 


Supers ar)d Fir)e \v ritir)6s 




V OY^r Papers, Etc., Etc. 



OFFICE AND WAREHOUSE 

520 ai)d 522 Mipor Street 

Philadelphia, Pa. 




"3 



Only the Highest Grades 

of Enamelled Book Papers 



MADE BY 



Nashua Card and 



Glazed Paper Co. 



NASHUA, N. H. 

We carry in Stock trie following Sizes of 

ENAMELLED BOOK PAPER: 

22 x 28 — 40, 50, 60, 70, 80, 100 lb. 25 x 38 — 60, 70, 80, 90, 100 lb. 

24 x 36 — 60, 70, 80, 100 lb. 28 x 42 — 80, 100, 120 lb. 

24 x 38 — 60, 70, 80, 100 lb. 28 x 44 — 80, 100, 120, 140 lb. 

32 x 44 — 100, 120, 140 lb. 



Cardboard of Every Description. 

Fine Wedding*Bristols, Calendar Boards, Coated Lithographic Boards, 

Cover Papers, Flint and Friction Glazed Papers, Coated 

Blotting, Playing-Card Stock, Mat Boards, Plated 

and Lithographic Paper. 



SEND FOR CATALOGUE. 
114 



STERLING 

LEDGERS 

whiteIor buff. 



STERLING 

BONDS 



WHITE WOVE. 




MR. GEO. E. WRIGHT, treasurer. 

Jf ™ TRADE^ MARK ^S 



STERLING 

LINENS 

WHITE AND CREAM LAID. 



STERLING 

SUPERFINES 



REGISTERED. 




MR. J. E. WORTHY, president. 




MR. GEO. E. WRIGHT, Jr., manager. 



WORTHY PAPER CO., Mittineague, Mass. 



115 



Nonotuck Paper Co 



\\ x 



«&* 



c 



^ 



?* s 



o* ■ 






*&«&$*■ 



V 



S 



e^ 



. 



REGULAR SIZES AND 
WEIGHTS CARRIED 
IN STOCK. 

SPECIAL SIZES AND 



WEIGHTS MADE TO 
ORDER ON SHORT. . 
notice 



RULED WRITINGS, 
MACHINE AND SUPER 

CALENDERED BOOK, 

ALSO 

ENAMELED BOOK 

AND 

COATED LABEL 



. . . Papers 



NONOTUCK PAPER CO 

HOLYOKE, MASS. 



116 



THE PRODUCTS 



OF 



\\/hiting ♦ pap<?r ♦ Qompdm), 

/VUlls, HolvJol<e, /Vlass. 

Have reached the highest degree of perfection. 
The different grades meet every requirement. 



BOND 

LEDGER 

WEDDING 
LINEN 

TYPEWRITER 



I fcaper s. 



# 



Superfine, Fines, White and 
Cream Wedding Bristols. 
White and Cream Mill Bristols. 
Tinted Bank Check Papers. 
Tinted Laid Writings. 
Tinted Bristol Boards. 
Embossed Bristol Boards, Etc. 

* 

Warehouse : No. 18 South Sixth Street, 

Philadelphia. 

"7 



BURRITT H. SAWYER. FRANK W. FARRELL. 



PSTABLISHED 1861. 



Nescochague 
Manufacturing --Co. 



MANUFACTURERS AND 

• • • GENERAL DEALERS 

Paper 



Of All Kinds. 




514 and 516 Minor Street 



PHILADELPHIA 



PA. 



us 



, 



Steen's Power Stamper and Illuminator, 

Patented by Samuel Steen and Chas. H. Elliott, Philadelphia, Pa., V. S. A. 



Stamps Die 3^x7 inches 

or one of the smallest 

size. 




Registers per- 
fectly. Stamping 
inColors orBronzes 
by Steam Power. 
1500 perfect im- 
pressions per hour, 
n Bronze, in Color, 
or without Color. 

It will Stamp 
Two Dies at one 
operation. SUNK 
Coat of Arms or 
Trade-Mark, or 
DEEP die 
v*?] in Color 



or Bronze. 
Will bur- 
nish 1500 per hour. 



Interested par- 
ties invited to call 
and see the press 
in operation. 



K 



NOW ON 
EXHIBITION. 



Correspondence Solicited. 



THE CHAS, H. ELLIOTT GO, 



910 FILBERT STREET, 

PHILADELPHIA, PA. 



U. S. A. 



PAPER • FOLDING • MACHINES. 




W@/®/^y 



Point Feed and Marginal 
Side Guide. 

Drop Roller Machines 



for all classes of fine 
book, pamphlet and peri- 
odical work 



W^W^ 



Ma 



Montague & Fuller, 

General Agents, 
NEW YORK. CHICAGO. 



nufac ^^Chambers Brothers 
.. Company, 

PHILADELPHIA. 







ladelpfya. 




Made 

AND 

Repaired 



MONTAGUE • & • FULLER. 



LATEST IMPROVED . . 



Bookbinders' 

JVIaehinery. 



General Agents for the Sale of 



The Smyth Book Sewing Machines, 

The Chambers Book Folding Machines, 

The Elliott Thread Stitching Machines, 

The Acme Paper Cutting Machines, 

The Christie Beveling Machines, 

The Economic Paper Feeding Machines, 

The Ellis Roller Backer. 




♦♦♦♦♦♦ 



The Ellis Book Trimmer, 

The Universal Wire Stitching Machines, 

The Seybold Automatic Book Trimmer, 

The Hercules Signature Press, 

The Jacques Shears, 

The Lieb Rod Embossers, Inkers and 

Smashers, 
Arch Embossers, Inkers and Smashers. 



EXTRACT FROM LETTER 

WORLD'S COLUMBIAN COMMISSION 



Washington, D. C, April 7, 1894. 
* * * " The exhibit of Montague & Fuller was one of the most 
ambitious exhibits in the Machinery Department, and the largest 
collectiofi of machinery in its class." * * "The exhibit of 
Montague & Fuller was awarded nine medals andelez'en diplomas." 
Yours. 
(SIGNED) JOHN BOYD THACHER, 

BY Chairman. 

(SIGNED) M. L. MCDONALD, JR.. 

Ch ief of Awa rdsfor Mach inery. 



THREAD, TAPE. WIRE, DHPLI= 
GATE PARTS. ETC 

We Guarantee.. 

livery Machine We Sell. 



28 Reade Street, NEW YORK. 



> 345 Dearborn Street, ) 
82 Plymouth Place, I 



CHICAGO. 



121 



EDWARD K. GRAHAM & CO. 



MANUFACTURERS OF 




DEALERS IN 



New and Secondhand /Vlachinen} and Supplies 
of <?v?r\J Description. 

Oend for Special List «& 516 COMMERCE ST., 

Second-Hand Machinery. ^* PHILADELPHIA PA. 



Specialties: 

Parchment Paper 

Grease and Moisture Proof. 

Paper Mailing Tubes. 
American Matrix. 



Rose Glen Paper Mills. 

A.G.ELLIOTT & CO. 



Philadelphia Agents 

. . for . . 

Hollingsworth & Whitney Co. 

L. L. Brown. 

Byron Weston. 

Crane Bros. 

Crane & Co. 

Parsons Paper Co. 

Russell Paper Co. 

Jos. Parker & Son. 

Mt. Holly Paper Co. 

Owen Paper Co. 

Ripley Paper Co. 

M. & W. H. Nixon. 

Chapin & < Jould. 

Old Berkshire Mills. 

E. & S. May's Plate Paper. 

Commercial Safety Paper. 



MANUFACTURERS AND DEALERS IN 



# # 



Paper 



* # 



OF EVERY DESCRIPTION. 

30, 32, 34 South Sixth Street, 

600, 602, 604 Jayne Street, 

723 Chestnut Street, 
PHILADELPHIA. 

Paper in stock to suit all the requirements of 

The Publisher, The Bookbinder, 

The Pr inter } The Lithographer. 

122 



C. R. CARVER, 



■^ 



BkOWN & CARVER 
PAPER-CUTTING MACHINES. 




NEW AND SECOND-HAND 
PRINTERS' MACHINERY. 



25 H- SEVENTH ST. 

PHILADELPHIA, PA. 



123 



ONLY MAKER OF 
STRONG SLAT" CASES. 

The very best samples ot case 
slats to applicants. 




Paterson Job Cases. 

California Job Cases. 

City Sta nds, Single and Double 

All up-to-date and well made. 



Catalogues describe them all. 



HEBER WELLS, 



Successor to VANDERBURGH, WELLS & CO. 
Factory at Paterson, N.J. 15 7 -1 59 William St., New York. 



Of I nterest to Photo=Rngravers. 

. W RITE the W ° rd BBVBZER on a 

' " V V postal card, together with your name 
and address, mail it to us, and we will send you 
full and complete descriptive matter of a new 
machine for bevelling the edges of half-tone plates, 
in which many new and desirable features have 
been developed. 

JOHN ROYLE & SONS, Paterson, N. J., U. S. A. 





PHOTO « EHG$ FIVERS 



w 



A; 



TTEftTIOrl I 



E will furnish you perfectly ground sheets for 
etching more cheaply than you could get the 
same up yourselves, and more perfect. Whatever is worth 
doing is worth doing well. By the use of our sheets, perfect 
contact with the negative is insured. This, combined with 
perfect etching qualities, furnishes the ideal etching metal. 
No waste on account of seams, or imperfections. 

To specialize is the modern tendency. We have special- 
ized upon this. It costs but little to write us. Better let us 
become acquainted with you. 

NEW YORK STEEL AND 

171 Wallabout Street, pHPPPP PI ATP (^C\ 

BROOKLYN, N. Y. K^VJl l Dl\ ILAIC ^W. 



124 



THIS IS A SAMPLE. 



Qrai^e Bros."<*>w/iHar 

> U/estfield, /Tlass. 



linenledtferP 3 ^: , 

\^ ' ' \ 5 \ (361b. medium.) 




This Paper has never failed to receive the Highest A ward 

when placed in competition with other papers, after 

a thorough test by competent judges ; it tliere- 

fore stands commended to the public 

as the best article of the kind 

in t)ie world. 





OCR TRADE-MARK. 



Highest Award at the Centennial Exposition, 1876. 

Grand Prize Gold Medals awarded at the Paris Exposition, 187S, 

and the Melbourne, Australia, Exposition, 1880. 

Grand Prize Gold Medal awarded at the World's Exposition, New Orleans, 1885. 

Medal of Superiority awarded at the American Institute, New York, 18S9. 

Silver Medal awarded at the Mechanics' Institute, Boston, 1890. 

Highest Award at World's Columbian Exposition, Chicago, 1S93. 

Diploma of Honor and Gold Medal awarded 

at Midwinter International Exposition, San Francisco, 1894. 

These Papers are Machine Hand Made, and are recommended by those 
who are using them to be as good as the English Hand Made Papers. The 
Crane Papers are made by an entirely new process, and will write and erase 
equal to any hand made paper. They are the only Blank Book Papers 
manufactured where the watermark is in the same position in every sheet. 






r CRANE BROS 







IN ORDERING YOUR BLANK BOOK WORK, PLEASE SPECIFY 
"CRANES' LEDGER PAPERS." 



K§ 



USE ^ 



A- 

s 

X 



."GOI-IWdA^ 

'KNRecoR"^' 

,. ^- Soft BtM* R „_ 

Warranted All Linen 
"Japanese Linen'Papers 




(R^ 



CRMAKt^ 



m 



i 



THE OLDEST AND MOST RELIABLE FIRM OF PRINTERS' 
ROLLERS MANUFACTURERS IN THE CITY. 



D.J. Reilly&Co. 




O. J. MAIGNE. 



~ J^~ -\i- ~J^ -v]/- ■sj^ -sU ~ ~.\y -six- -\l- ■nL- ■nI^- -.!- 

~7j^ ^"JS, ^|\, v'jS, ^ ^JsT' *-K. ,/j^ ^f. ^T-^ 

324 and 326 Pearl Street, 
fleui York City. 



Form or in Cakes. 
Green and Blue. 



ii 



.. 



TABLET GLUE £253 

PEERLESS" COMPOSITION «-«..*.««- 

ALMlj CUjirUblllUjN A reliable, standard article. 



MANUFACTURERS OF 



Printers' Rollers 

AND ROLLER COMPOSITION. 



W&M&M@:@MS>M 



Keep on hand a bottle of our celebrated "ELECTRIC ANNIHILATOR." It is 

a sure remedy for electricity in paper. 
Patronized by all the leading Printing Press Manufacturers in the United States. 

Best work at moderate prices. 



Rollers made by the new method, and known as "Machine-Cast Rollers,' 
are manufactured by us. 



125 



A French savant speculates that Adam was 123 feet, 9 inches high, 
and his disobedient consort, 118 feet; that at the present rate of degene- 
ration the average man, 500 years hence, will be four inches high. Neither 
statement has been confirmed as yet, but the following mathematical pro- 
portion of durability and values may be deduced : 

A -, • ( Citizen of ) • • ( Superior Copper=Mixed ) . ^ 

Adam { A -r-. > ! \ .. ~ : ~ > Other Tvpe. 

• ( A. D. 2394 ) • • ( Anti=Trust Type. ) • J ^ 

The question is asked, why are users of your Superior Coppei'- Mixed Type almost 
uniformly prosperous ? The answer falls into two parts : 

(a) Men with good judgment buy that type when they learn of its merits. 

(b) Having the type, the}- save money and time, and obviate all kinds of worry. 
It may be added that finding the excellent qualities of the type prompts them to 

look to us for such other articles of printers' supplies as they need, and gradually 
they stock up with such splendid machinery, etc., as we handle, like 

Babcock Aii'- Spring Pi'esses. 

Howard Iron Works Paper- Ctttters and Binders" Machinery . 

Chandler and Price Old-Style Gordons. 

Morrison Wire- Stitchers. 

Kane, Lewis and Raymoiid Gas-Engines. 

Mayo {Rockford) Electric Motors. 

Etc., Etc., Etc. 

Hundreds of customers of this house habitually- send in their orders without 
asking prices, feeling that they will be treated fairly- — and they are never disappointed. 

Our prices are on the whole lower than those of any- competitor ; they r are 
uniform ; they are made as low as they T can be, with due regard to quality r . We ask 

Not " how cheap f" but " how good f ' 

and the wise, far-seeing, forward-looking master printer asks the same question. 

Cheap goods fit the amateur, the cheap John, the blacksmith printer, but the 
" stayers," the responsible men of the craft, want the best, which is a synonym for 

"Superior Copper-Mixed Anti-Trust Type," 

and other like goods handled only by 

Barnhart Bros. & Spindler, 

183, 185, 187 Monroe Street, 

CHICAGO, ILLS. 

126 




127 




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Paper and Press. 



PRINTERDOM'S MAGAZINE. 



THE foremost Magazine of the World in the 
Printing Arts and Allied Industries; con- 
tains complete and comprehensive reviews 
of every appliance and process for the manipula- 
tion of manufactured paper, and has the bona fide 
endorsement of the buyers and consumers of 
four-fifths of the machinery, appliances and sup- 
plies annually sold to Printers, Publishers, Book- 
binders, Blank-Book Makers, Manufacturing 
Stationers. Engravers and Plate Printers in the 
United States and Canada. 

W. M. PATTON, Publisher, 
1414 S. Penn Square, 

Philadelphia, Pa., U. S. A. 



Papel y Prensa. 

SPANISH-AMERICAN EDITION 
Paper and Press and Lithographers' Journal. 



THE only independent, high-class Journal in 
the World printed entirely in the Spanish 
language, covering all the Graphic Arts 
and Allied Industries, and circulating directly to 
consumers throughout the Republics of Mexico, 
Central and South America, embracing all the 
valuable features of Paper and Press and Lith- 
ographers' Journal, and circulating monthly to 
Publishers, Printers, Lithographers, Bookbind- 
. Blank-Book Makers, Stationers, Engravers, 
Plate Printers and all engaged in the Graphic 

Arts and AHie I Industries in Spanish America. 

W. M. PATTON, Publisher, 
1414 S. Penn Square, 

Philadelphia, Pa., U. S. A. 



Lithographers' Journal. 



THE only Journal in America exclusively in 
the Lithographic interests, and the lead- 
ing Monthly Journal of its class in the 
World in the English language. A Journal of 
the highest class, treating upon every process, 
experiment and demonstration pertaining to the 
technique of Lithography in the most compre- 
hensive manner ; together with current reviews 
of every mechanical invention for demonstration, 
collated from the world's store-house of informa- 
tion. A Lithographic Journal in the fullest 
sense, having the almost absolute endorsement 
and support of the Lithographers of America. 

W. M. PATTON, Publisher, 
1414 S. Penn Square, 

Philadelphia, Pa., U. S. A. 



A Machine Without Cams 
• « Newest and Best • • 

The New Jersey Wire Stitching Machine 




f 



% J. L SHOEMAKER & CO. 



Simple 

Durable 

Economical General Agents 

Send for Circulars Philadelphia 



130 



Hills Established 1850 

L. L. Brown Paper Co. 

ADAMS, MASS. 



W\ 



en do not put "new wine into old bottles" 

but they often record valuable documents and accounts 
upon paper of an inferior quality ; thus practicing a 
''Penny wise and Pound foolish" economy, saving a few 
cents per pound on the paper that enters into the making 
of a County Record or Ledger. The result is, after a 
few years the leaves become yellow and brittle by use, 
they break out at the back, and a book in which are 
inscribed valuable records, to which time gives added 
value, is a source of care and anxiety ever after. 
There are certain brands of Ledger Papers to be re- 
lied upon, made of the best possible rag stock, new 
cuttings, linen fiber, that time and age will not deter- 
iorate ; such is the L. L. Brown Paper Co.'s Linen 
Ledgers. This company has made a specialty of this 
one article, " Linen Ledger Paper," for more than 
forty years; it is the same year after year, strength 
of fiber insuring durability in daily use, and a sizing 
that resists climatic changes are points of excellence 
that commend this brand to those who want the best. 
Ask your stationer or blank book maker for our brand. 

Yours truly, 



The L. L. Brown Paper Co 



HIGHEST AWARD for Linen Record 
Papers awarded at World's Colum= 
bian Exposition, Chicago, 1893 



FRED. H. LEVEY, President CHAS. E. NEWTON, Vice-Pres. 



••32+Js i£n<V 



FRED. H. LEVEY COMPANY 



Manufacturers of 



FINE PRINTING INKS 



NEW YORK 



■.•so •>::•.• 



This Souvenir is printed entirely with our Inks 






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